Product Description

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.

Product Details

• Amazon Sales Rank: #27886 in Books
• Published on: 2008-11-11
• Released on: 2008-11-11
• Format: Deckle Edge
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 176 pages

Features

• ISBN13: 9780307264237
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

From Publishers Weekly
Starred Review. Nobel laureate Morrison returns more explicitly to the net of pain cast by slavery, a theme she detailed so memorably in Beloved. Set at the close of the 17th century, the book details America's untoward foundation: dominion over Native Americans, indentured workers, women and slaves. A slave at a plantation in Maryland offers up her daughter, Florens, to a relatively humane Northern farmer, Jacob, as debt payment from their owner. The ripples of this choice spread to the inhabitants of Jacob's farm, populated by women with intersecting and conflicting desires. Jacob's wife, Rebekka, struggles with her faith as she loses one child after another to the harsh New World. A Native servant, Lina, survivor of a smallpox outbreak, craves Florens's love to replace the family taken from her, and distrusts the other servant, a peculiar girl named Sorrow. When Jacob falls ill, all these women are threatened. Morrison's lyricism infuses the shifting voices of her characters as they describe a brutal society being forged in the wilderness. Morrison's unflinching narrative is all the more powerful for its relative brevity; it takes hold of the reader and doesn't let go until the wrenching final-page crescendo. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The Washington Post
From The Washington Post's Book World/washingtonpost.com Reviewed by Ron Charles Toni Morrison's new novel, A Mercy, makes a spellbinding companion to Beloved, her 1987 tour de force that transformed our understanding of slavery and won the Pulitzer Prize. Her old themes rise up in A Mercy like a fever dream: the horrible sacrifice a mother makes to protect her child, the deadly vanity of benevolent slaveholders, the abandonment of a past too painful to remember. But this is a smaller, more delicate novel, a fusion of mystery, history and longing that stands alongside Beloved as a unique triumph in Morrison's body of work. The lush poetry and amorphous structure of A Mercy 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. The four abandoned women at the center of this novel -- one white, one Native American and two black -- are all enslaved in some way, struggling to maintain their precarious life together on a failing farm in the late 17th century when the New World's traditions of slavery are fresh and fluid. Summarizing the plot does a certain amount of violence to the novel's self-conscious obscurity, its determination to keep us off balance amid dazzling impressions. The opening chapter, in particular, is a swirl of references to people and events we can't comprehend. (Beloved, remember, began with the enigmatic words, "124 was spiteful.") Morrison relies heavily on the allure of her imagery, perhaps even on the deference afforded by her Nobel Prize. At this point in her career, she doesn't have to give up meanings any more easily than Faulkner or Joyce did, and like their work, A Mercy conveys powerful emotional effects even when it leaves us struggling for sure footing. "Don't be afraid," a narrator begins. "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." Jacob Vaark, a small-scale trader who was raised in an orphanage, inherited 120 acres in upstate New York from an uncle he'd never met. He considers slavery "the most wretched business" and insists that "flesh was not his commodity," but he works out a moral equation that allows him to make money as a financier to slaveholders. As we've seen before, Morrison writes with the kind of psychological nuance that turns her characters' souls to clear glass: An early scene shows Vaark sneering "at wealth dependent on a captured workforce," even while he profits from it. He eventually makes a fortune, all the while imagining that he's kept himself above "whips, chains and armed overseers." It's a brilliant portrayal of the expedient allowances people make to preserve their sense of purity and self-reliance. When he began farming, Vaark purchased a 14-year-old Native American named Lina who lost her village to a smallpox epidemic. She's a determined survivor, traumatized first by the death of her family, then by the Presbyterians who "civilize" her. "Terrified of being alone in the world," Morrison writes, "Lina acknowledged her status as heathen and let herself be purified by these worthies. She learned that bathing naked in the river was a sin; that plucking cherries from a tree burdened with them was theft; that to eat corn mush with one's fingers was perverse." Morrison turns the issue of servitude over and over in fascinating ways. This was, after all, a time before the spectrum of slavery had resolved into black and white. Almost everyone is for sale, and their relations with one another are bound by customs and laws still evolving. Together, Vaark and Lina manage his farm as best they can with an odd kind of mutual respect, but it is "an unrewarding life" until Vaark buys a wife from England, and again the results are surprising. "Rebekka's sheer good fortune in a husband stunned her," Morrison writes. "Already sixteen, she knew her father would have shipped her off to anyone who would book her passage and relieve him of feeding her . . . the stubborn one, the one with too many questions and a rebellious mouth." Vaark also takes in a strange young woman named Sorrow, and as partial payment for a debt, he acquires a slave girl named Florens. The only character who narrates her own chapters, Florens serves as the emotional engine of the novel and the mystery at its core. "They were orphans, each and all," Morrison writes. The real triumph of A Mercy is its portrayal of the moral ambiguity of these relationships. There are no easy judgments here. Vaark may be compromised by his financial entanglements with slavery, but he's a benevolent patriarch who gives safety to a cast of women who would have no security elsewhere in this place, surrounded by howling wilderness and settlements of religious zealots. What's happened and what's happening become clear only as several chapters confirm the scrambled chronology of these events: Jacob Vaark has died of smallpox and now his wife, Rebekka, is close to death, too. The farm, their little Eden in the lawless forest, is suddenly threatened with collapse, which can only mean something far worse for its female residents. Morrison depicted the plight of an isolated women's compound in Paradise in 1997, but in this more impressionistic novel she captures the state of powerless women contending for survival in a civilization that would not stabilize for decades. Without a master, they are all at risk; without even a white mistress, they would have no chance. "Sir and Mistress believed they could have honest free-thinking lives," Lina thinks with a sigh. "Their drift away from others produced a selfish privacy and they had lost the refuge and the consolation of a clan. . . . Pride alone made them think they needed only themselves, could shape life that way, like Adam and Eve, like gods from nowhere beholden to nothing except their own creations." Most of the novel takes place as Rebekka lies dying, Lina cares for her, and Sorrow asserts herself -- all three women remembering their lives before and with Vaark. But the heart of the novel is young Florens. She's sent off to find a blacksmith, a free black man who once worked on Vaark's property and may be able to heal Rebekka. For Florens, it's a chance not just to escape but to reunite with him. She propels herself through a frightening travail in the wilderness with an ardent, irrepressible monologue, much of it directed to her absent lover. Her voice is the most demanding but rewarding in the novel, thick with raw poetry and passion. "I never before see leaves make this much blood and brass," she says. "Color so loud it hurts the eye and for relief I must stare at the heavens high above the tree line." She's sometimes unhinged -- sympathetic one moment, animalistic the next. "These careful words, closed up and wide open, will talk to themselves," Florens says, and in the most mesmerizing sections of the novel, all we can do is listen to her incantations, the voice of a young woman consumed with yearning. "I dream a dream that dreams back at me," she says. "Perhaps these words need the air that is out in the world. Need to fly up then fall, fall like ash over acres of primrose and mallow. . . . I am become wilderness but I am also Florens. In full. Unforgiven. Unforgiving. No ruth, my love. None. Hear me? Slave. Free. I last." What a strange, affecting story, flowing through an astonishing range of emotions. And consider that all this takes place in just 167 pages, shorter than her far less complicated first novel, The Bluest Eye (1970). 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. Whereas 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.
Copyright 2008, The Washington Post. All Rights Reserved.

From Bookmarks Magazine
Several reviewers ranked A Mercy near the top of Toni Morrison's catalogue—an impressive feat. Given the subject of slavery, comparisons with Beloved are inevitable; critics tended to think of A Mercy as a more compact companion piece to that work. Many reviewers also noted that A Mercy is more accessible than Morrison's other novels that were written since she won the Nobel Prize, showing that the award does not, in fact, curse its recipients with literary decline. But a few reviewers also noted the inevitable deference given to an author like Morrison. Some sections of A Mercy may seem obscure, they suggested, but that obscurity simply indicates that those sections deserve another read. The reviewer from the Dallas Morning News summed it up nicely: this novel is more accessible than Morrison's recent work, and is all the better for it. But there is still plenty of allusion and poetry so that you won't forget who you're reading—or why there may be a few passages that you're rereading.
Copyright 2008 Bookmarks Publishing LLC

Customer Reviews

"I don't think God knows who we are. I think He would like us, if He knew us, but I don't think He knows about us."
(4.5 stars) Continuing themes that she has been developing since the start of her career, Nobel Prize-winning author Toni Morrison creates an intense and involving philosophical, Biblical, and feminist novel set in the Atlantic colonies between 1682 and 1690. Her impressionistic story traces slavery from its early roots, using unique voices--African, Native American, and white--while moving back and forth in time. The primary speaker is Florens, a 16-year-old African slave, who tells the reader at the outset that this is a confession, "full of curiosities," and that she has committed a bloody, once-in-a-lifetime crime. In a flashback to 1682, we learn that when Florens was only eight years old, her mother suggested to the Maryland planter who owned the family, that Florens be given to New York farmer Jacob Vaark to settle a debt. Florens never understands why she was abandoned by her mother.

Florens lives and works for the next eight years on Vaark's rural New York farm. Lina, a Native American, who works with her, tells in a parallel narrative how she became one of a handful of survivors of a plague that killed her tribe. Vaark's wife Rebekkah describes leaving England for New York to be married to a man she has never seen. The deaths of their subsequent children are devastating, and Vaark is hoping that eight-year-old Florens will help alleviate Rebekkah's loneliness. Vaark, himself an orphan and poorhouse survivor, describes his journeys from New York to Maryland and Virginia, commenting on the role of religion in the culture of the different colonies, along with their attitudes toward slavery.

All these characters are bereft of their roots, struggling to survive in an alien environment filled with danger and disease. When smallpox threatens Rebekkah's life in 1692, Florens, now sixteen, is sent to find a black freedman who has some knowledge of herbal medicines. Her journey is dangerous, ultimately proving to be the turning point in her life.

Morrison examines the roots of racism going back to slavery's earliest days, providing glimpses of the various religious practices of the time, and showing how all the women are victimized. They are "of and for men," people who "never shape the world, The world shapes us." As the women journey toward self-enlightenment, Morrison describes their progress in often Biblical cadences, and by the end of this novel, the reader understands what "a mercy" really means. An intense and thought-provoking look at various forms of slavery from their beginnings, this short novel has an epic scope, one which admirers of Morrison will celebrate for its intense thematic development, even as they may somewhat regret its sacrifice of fully developed characters. Mary Whipple

Sula
Beloved
Jazz
Song of Solomon (Oprah's Book Club)
Love: A Novel
Playing in the Dark: Whiteness and the Literary Imagination

A short, lyrical , gripping novel, and a great joy to read
In this short, lyrical and gripping novel, Tony Morrison has undertaken, once again, to explore her favorite subject: the evils of slavery. Written in prose so lovely and mesmerizing that it reminded me of her "Sula", also a short novel, published thirty-five years ago, "A Mercy" was a great joy to read.

Jacob Vaark, a Dutch-born farmer and trader, and Rebekka, his English wife own a tobacco plantation. Even though Jacob owned a few slaves, he did so only as a necessity to run his homestead. Jacob is sympathetic towards orphans and waifs because he himself was parentless at a young age, and had to fend for himself on the streets running small errands.

At the heart of the novel is an act of mercy. When Jacob Vaark travels to Maryland to collect debt from a tobacco plantaion owner named Senor D'Ortega, he finds out that Senor is broke and has no money to pay off the debt. Senor offers Jacob a thin black girl named Florens, a daughter of one of his slaves, as a partial payment of the debt. Florens is smart, and she can read and write also. Florens' mother senses that Jacob is more kind-hearted than her master, and so pleads with Senor to give Florens to Jacob. Her hope is that Florens would have a better life in Jacob's estate. Florens's mother considers this an act of mercy, but the irony is that Florence considers it abandonment.

Several sympathetic characters make the novel interesting and hold a reader's attention. Lina (Messalina), a native American, was sold to Jacob by the Presbytarians who had rescued and saved her. Sorrow, a sea captain's daughter, survives a ship wreck, but ends up in Jacob's plantation as a slave. Willard and Scully are indentured servants who are sent to work at Jacob's plantation by their contract holders. A young black man, a blacksmith, arrives to make an iron gate for Jacob's new house. He is not a slave, but a free man. This man is also knowledgeable about medicinal herbs. Florens falls in love with him.

In this novel Toni Morrison has found her ability to write simple, unadorned and lyrical prose that she mysteriously lost when she wrote "Paradise": "A frightened, long-necked child who did not speak for weeks but when she did, her light, singsong voice was lovely to hear. Some how, some way, the child assuaged the tiny yet eternal yearning for the home Lina once knew, where everyone had anything, and no one had everything."

Reading this novel was an intense, deeply moving, and satisfying experience. Even though the novel is short, it is bright, deep and weighty.

You say I am wilderness. I am.
Finally a novel that lives up to the publisher's hype. So much is promised with each new book, but this is truly a fine work. I am unable to judge whether this is great literature, but it satisfied me on many levels. That is a rare occurrence for a piece of writing. I have given five stars to prior reviews, but this is the finest writing that I have yet reviewed for amazon.

The novel reads quickly. You could finish it in a few hours if you were so inclined. I preferred to slow down and savor the contents. I will return this book again, after giving it a season on my shelf. It will never go to the library donation pile in my lifetime! Although I may be a bibliophile, in the extreme I would preserve only a few (hundred) books. This will be one of them.

Morrison uses shifting points of view to bring this short novel to life. The story unfolds through the eyes of each major character, although only one, Florens, speaks in the first person. Her voice is entirely in a vernacular, lacking conventional punctuation and sentence structure. The first few pages are moderately difficult to understand, but it becomes steadily more intelligible as you progress. The varied points of view remind me of The Sound and the Fury, especially in the opening chapter. But Florens is no Benjy, and Morrison's narrative bears only a superficial resemblance to Faulkner's. Although there is plenty of sorrow, and broken relationships all around, there is not a tone of hopeless cynicism.

I went back to read the first chapter several times, discovering more each time. You cannot understand some things at first. For example: "If a pea hen refuses to brood I read it quickly and sure enough that night I see a minha mae standing hand in hand with her little boy, my shoes jamming the pocket of her apron." This is a pivotal moment, but I did not recognize it as such on a first read. Sometimes I don't care for writers who show things early, and explain them later. Morrison is such a good writer that I didn't mind at all. I don't think that you will mind either.

I do not call Morrison a feminist or black writer. I believe those words will put unreasonable limits on how I might think about her work. Her writing reaches beyond the narrow concerns of our present day, to universal truths. She does not gloss over the brutalities and prejudices of slavery, or the lot of women in the 17th century. Far from it. But there are even larger things at stake here. In A Mercy I met myself where I least expected. I recognized myself in Florens, in Lina, in Jacob and even in Sorrow. To see yourself in another is the beginning of love. To give that gift to a reader is a great achievement.