A powerful tragedy distilled into a jewel of a masterpiece by the Nobel Prize–winning author of Beloved and, almost like a prelude to that story, set two centuries earlier.
In the 1680s the slave trade was still in its infancy. In the Americas, virulent religious and class divisions, prejudice and oppression were rife, providing the fertile soil in which slavery and race hatred were planted and took root.
Jacob is an Anglo-Dutch trader and adventurer, with a small holding in the harsh north. Despite his distaste for dealing in “flesh,” he takes a small slave girl in part payment for a bad debt from a plantation owner in Catholic Maryland. This is Florens, “with the hands of a slave and the feet of a Portuguese lady.” Florens looks for love, first from Lina, an older servant woman at her new master’s house, but later from a handsome blacksmith, an African, never enslaved.
There are other voices: Lina, whose tribe was decimated by smallpox; their mistress, Rebekka, herself a victim of religious intolerance back in England; Sorrow, a strange girl who’s spent her early years at sea; and finally the devastating voice of Florens’ mother. These are all men and women inventing themselves in the wilderness.
A Mercy reveals what lies beneath the surface of slavery. But at its heart it is the ambivalent, disturbing story of a mother who casts off her daughter in order to save her, and of a daughter who may never exorcise that abandonment.
Acts of mercy may have unforeseen consequences.
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Toni Morrison is the Robert F. Goheen Professor of Humanities, Emerita, at Princeton University. She has received the National Book Critics Circle Award and the Pulitzer Prize. In 1993 she was awarded the Nobel Prize in Literature. She lives in Rockland County, New York, and Princeton, New Jersey.Excerpt. © Reprinted by permission. All rights reserved.:
Don't be afraid. My telling can't hurt you in spite of what I have done and I promise to lie quietly in the dark--weeping perhaps or occasionally seeing the blood once more--but I will never again unfold my limbs to rise up and bare teeth. I explain. You can think what I tell you a confession, if you like, but one full of curiosities familiar only in dreams and during those moments when a dog's profile plays in the steam of a kettle. Or when a corn-husk doll sitting on a shelf is soon splaying in the corner of a room and the wicked of how it got there is plain. Stranger things happen all the time everywhere. You know. I know you know. One question is who is responsible? Another is can you read? If a pea hen refuses to brood I read it quickly and, sure enough, that night I see a minha mãe standing hand in hand with her little boy, my shoes jamming the pocket of her apron. Other signs need more time to understand. Often there are too many signs, or a bright omen clouds up too fast. I sort them and try to recall, yet I know I am missing much, like not reading the garden snake crawling up to the door saddle to die. Let me start with what I know for certain.
The beginning begins with the shoes. When a child I am never able to abide being barefoot and always beg for shoes, anybody's shoes, even on the hottest days. My mother, a minha mãe, is frowning, is angry at what she says are my prettify ways. Only bad women wear high heels. I am dangerous, she says, and wild but she relents and lets me wear the throwaway shoes from Senhora's house, pointy-toe, one raised heel broke, the other worn and a buckle on top. As a result, Lina says, my feet are useless, will always be too tender for life and never have the strong soles, tougher than leather, that life requires. Lina is correct. Florens, she says, it's 1690. Who else these days has the hands of a slave and the feet of a Portuguese lady? So when I set out to find you, she and Mistress give me Sir's boots that fit a man not a girl. They stuff them with hay and oily corn husks and tell me to hide the letter inside my stocking--no matter the itch of the sealing wax. I am lettered but I do not read what Mistress writes and Lina and Sorrow cannot. But I know what it means to say to any who stop me.
My head is light with the confusion of two things, hunger for you and scare if I am lost. Nothing frights me more than this errand and nothing is more temptation. From the day you disappear I dream and plot. To learn where you are and how to be there. I want to run across the trail through the beech and white pine but I am asking myself which way? Who will tell me? Who lives in the wilderness between this farm and you and will they help me or harm me? What about the boneless bears in the valley? Remember? How when they move their pelts sway as though there is nothing underneath? Their smell belying their beauty, their eyes knowing us from when we are beasts also. You telling me that is why it is fatal to look them in the eye. They will approach, run to us to love and play which we misread and give back fear and anger. Giant birds also are nesting out there bigger than cows, Lina says, and not all natives are like her, she says, so watch out. A praying savage, neighbors call her, because she is once churchgoing yet she bathes herself every day and Christians never do. Underneath she wears bright blue beads and dances in secret at first light when the moon is small. More than fear of loving bears or birds bigger than cows, I fear pathless night. How, I wonder, can I find you in the dark? Now at last there is a way. I have orders. It is arranged. I will see your mouth and trail my fingers down. You will rest your chin in my hair again while I breathe into your shoulder in and out, in and out. I am happy the world is breaking open for us, yet its newness trembles me. To get to you I must leave the only home, the only people I know. Lina says from the state of my teeth I am maybe seven or eight when I am brought here. We boil wild plums for jam and cake eight times since then, so I must be sixteen. Before this place I spend my days picking okra and sweeping tobacco sheds, my nights on the floor of the cookhouse with a minha mãe. We are baptized and can have happiness when this life is done. The Reverend Father tells us that. Once every seven days we learn to read and write. We are forbidden to leave the place so the four of us hide near the marsh. My mother, me, her little boy and Reverend Father. He is forbidden to do this but he teaches us anyway watching out for wicked Virginians and Protestants who want to catch him. If they do he will be in prison or pay money or both. He has two books and a slate. We have sticks to draw through sand, pebbles to shape words on smooth flat rock. When the letters are memory we make whole words. I am faster than my mother and her baby boy is no good at all. Very quickly I can write from memory the Nicene Creed including all of the commas. Confession we tell not write as I am doing now. I forget almost all of it until now. I like talk. Lina talk, stone talk, even Sorrow talk. Best of all is your talk. At first when I am brought here I don't talk any word. All of what I hear is different from what words mean to a minha mãe and me. Lina's words say nothing I know. Nor Mistress's. Slowly a little talk is in my mouth and not on stone. Lina says the place of my talking on stone is Mary's Land where Sir does business. So that is where my mother and her baby boy are buried. Or will be if they ever decide to rest. Sleeping on the cookhouse floor with them is not as nice as sleeping in the broken sleigh with Lina. In cold weather we put planks around our part of the cowshed and wrap our arms together under pelts. We don't smell the cow flops because they are frozen and we are deep under fur. In summer if our hammocks are hit by mosquitoes Lina makes a cool place to sleep out of branches. You never like a hammock and prefer the ground even in rain when Sir offers you the storehouse. Sorrow no more sleeps near the fireplace. The men helping you, Will and Scully, never live the night here because their master does not allow it. You remember them, how they would not take orders from you until Sir makes them? He could do that since they are exchange for land under lease from Sir. Lina says Sir has a clever way of getting without giving. I know it is true because I see it forever and ever. Me watching, my mother listening, her baby boy on her hip. Senhor is not paying the whole amount he owes to Sir. Sir saying he will take instead the woman and the girl, not the baby boy and the debt is gone. A minha mãe begs no. Her baby boy is still at her breast. Take the girl, she says, my daughter, she says. Me. Me. Sir agrees and changes the balance due. As soon as tobacco leaf is hanging to dry Reverend Father takes me on a ferry, then a ketch, then a boat and bundles me between his boxes of books and food. The second day it becomes hurting cold and I am happy I have a cloak however thin. Reverend Father excuses himself to go elsewhere on the boat and tells me to stay exact where I am. A woman comes to me and says stand up. I do and she takes my cloak from my shoulders. Then my wooden shoes. She walks away. Reverend Father turns a pale red color when he returns and learns what happens. He rushes all about asking where and who but can find no answer. Finally he takes rags, strips of sailcloth lying about and wraps my feet. Now I am knowing that unlike with Senhor, priests are unlove here. A sailor spits into the sea when Reverend Father asks him for help. Reverend Father is the only kind man I ever see. When I arrive here I believe it is the place he warns against. The freezing in hell that comes before the everlasting fire where sinners bubble and singe forever. But the ice comes first, he says. And when I see knives of it hanging from the houses and trees and feel the white air burn my face I am certain the fire is coming. Then Lina smiles when she looks at me and wraps me for warmth. Mistress looks away. Nor is Sorrow happy to see me. She flaps her hand in front of her face as though bees are bothering her. She is ever strange and Lina says she is once more with child. Father still not clear and Sorrow does not say. Will and Scully laugh and deny. Lina believes it is Sir's. Says she has her reason for thinking so. When I ask what reason she says he is a man. Mistress says nothing. Neither do I. But I have a worry. Not because our work is more, but because mothers nursing greedy babies scare me. I know how their eyes go when they choose. How they raise them to look at me hard, saying something I cannot hear. Saying something important to me, but holding the little boy's hand.
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Book Description Knopf. Hardcover. Book Condition: New. 0307264238. Bookseller Inventory # HGT5026JMCC112015H0146
Book Description Knopf, 2008. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: "A horrifying act stood at the center of Toni Morrison's 1987 masterwork, Beloved: a runaway slave, caught in her effort to escape, cuts the throat of her baby daughter with a handsaw, determined to spare the girl the fate she herself has suffered as a slave. A similarly indelible act stands at the center of Ms. Morrison's remarkable new novella, A Mercy, a small, plangent gem of a story that is, at once, a kind of prelude to Beloved and a variation on that earlier book's exploration of the personal costs of slaverya system that moves men and women and children around 'like checkers' and casts a looming shadow over both parental and romantic love. Set some 200 years before Beloved, A Mercy conjures up the beautiful, untamed, lawless world that was America in the 17th century with the same sort of lyrical, verdant prose that distinguished that earlier novel. . . . Ms. Morrison has rediscovered an urgent, poetic voice that enables her to move back and forth with immediacy and ease between the worlds of history and myth, between ordinary daily life and the realm of fable. . . . A heartbreaking account of lost innocence and fractured dreams, [that] also stands, with Beloved, as one of Ms. Morrison's most haunting works yet." Michiko Kakutani, The New York Times "Spellbinding . . . Dazzling . . . [ A Mercy ] stands alongside Beloved as a unique triumph in Morrison's body of work. The lush poetry and amorphous structure of [the novel] reflect the story's distant setting in the mist of America's creation, when independence and the three-fifths compromise of the Constitution were still a century away. . . . Morrison, who has written so powerfully of catastrophe, cruelty and horror, here adds to that song of tragedy equally thrilling chords of desire and wonder, which in their own way are no less tragic. Where Beloved ends with the cathartic exhaustion of an exorcism, A Mercy concludes with an ambiguous kind of prayer, redolent with possibility and yearning but inspired by despair. This rich little masterpiece is a welding of poetry and history and psychological acuity that you must not miss." Ron Charles, The Washington Post Book World "Luminous and complex . . . In Beloved, Morrison told the story of Sethe, a woman who murdered her own child rather than see her sold into slavery. Early on in A Mercy, we watch a mother do the oppositeshe puts her daughter Florens up for sale . . . It's a less bloody moment, but in its way it's no less chilling. A Mercy is that daughter's tale. . . . Morrison is mooting the perversely hopeful possibility that slavery could have existed without racism or at least without racism as we know it. She lavishes some of her best writing in years on [ A Mercy 's] pre-Revolutionary world . . . A Mercy shows us America in the moment before race madness ruined itit is a wounded land, but the wound has not yet turned septic. . . . In A Mercy, Morrison is urging her younger self, the tortured soul who fashioned the infernal vision that is Beloved, to look even furtherbeyond the veil of pain and anger, however righteous, to hope. There was a time before the present misery, Morrison seems to be telling herself. And therefore, maybe, there will be a time after it." Lev Grossman, Time "Magnificent . . . As with all Morrison's finest work, A Mercy compellingly combines immediacy and obliquity. Its evocation of pioneer existence in America surrounds you with sensuous intensity. . . . An attack by a bear is described with thrilling power. . . . Idioms have potent directness, too. . . . Rich knowledgeability about 17th-century America is put to telling effect. Voices speak to you as if you were there. . . . The book keeps you vividly aware of the vital human individuality that racism's crude categorizations are brutally trying to iron out. . . . A stark story of the evils of possessiveness and the perils of dispossession emerges slantwise. Hints, sus. Bookseller Inventory # ABE_book_new_0307264238
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