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Table of contents
- Must-Read Books of U.S. Historical Fiction | Book Riot
- You Might Also Be Interested In…
- Grants for Organizations
- Past Events
User Tools. Sign In. Advanced Search. Article Navigation. Close mobile search navigation Article navigation. Volume 47, Number Previous Article Next Article. Research Article October 02, Sea-level driven acceleration in coastal forest retreat Nathalie W. Schieder Nathalie W.
Must-Read Books of U.S. Historical Fiction | Book Riot
Google Scholar. Matthew L. Kirwan Matthew L. Geology 47 12 : This program also involves four other performers.
This production is a celebration of ghost stories and legends set to the stunning and creepy photograph of Frank Grace. Why do these legends pop up all over the world and force us to explore them? Spirit Communication Are talking boards aka Ouija boards just a game? Can people reach the other side with automatic writing, through mirror gazing, by pulling out a camera or tape recorder?
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Jeff shows the method, discusses the history, and displays the evidence. Learn about the paranormal in your sleep, what your dreams mean, and the symbols and archetypes of our dream world. A Creepy Christmas There are many Yuletide monsters and legends that have almost been lost to the ages. This is not sufficient, her mother signifies, insofar as she finds it necessary to go back to how she herself was captured, sold into slavery, and brought from Africa to Barbados in order to explain the moment that Florens takes as a beginning.
A Mercy thus illustrates that narrative containers such as choice may be made readily available by demarcated periodization. From this, it becomes clear that periodized and linear conceptions of time and history shaped by circum-Atlantic memory can themselves lead to containment strategies that presuppose endings. Tragedy cuts catastrophe down to size. The problem, however, is that there was nothing to disrupt: there is no free market. If a free market is one in which the members of the theoretical construct of the market are able to negotiate freely among themselves on the prices of goods and services without any outside limiting factors such as government intervention, then a society that accumulates wealth using slave labor cannot lay claim to being a free market because a segment of that market is barred from negotiations by the legal structures that deny enslaved persons their personhood.
As such, the terms accumulation and rupture each take on double meanings. Both narrative meaning and capital or wealth can accumulate , and both narrative patterns established by accumulated meaning and economic bubbles established by accumulated capital can be ruptured. Lewis wants to claim that bankers, not borrowers, were to blame for the Crisis, but what kind of work is this substitution doing? As a re-vision of mainstream American origin narratives, A Mercy avoids simply plugging different details into the same structure, which is what other countermemories such as The Big Short do by re-visioning the Housing Crisis as the same linear story with a different cast.
Unlike this kind of corrective storytelling structured by substitution within existing frameworks, A Mercy teaches us to read within a different temporal frame.
We can ask what happens if the organizing principle of the Housing Crisis is not a linear timeline. Pushing further, what happens when time itself refuses to contain discrete events, when time accumulates history to the point of rupturing periodization in the moment that accumulated capital ruptures an economic bubble? Repetition as a literary strategy is thus inseparable from accumulation. The reader, then, encounters the scene a second time as an accumulation of meanings and has a sense of Florens not only as a writer in the immediate moment but also as a ghostly figure through the meaning accumulated via repetition in an earlier iteration.
Time is not something that depletes, passing from one moment to the next, but something that accumulates through repetition. On the first page of A Mercy , readers encounter a second-person address. On this first encounter, they become responsible in some way for the story. Yet, as readers proceed, they learn that the chapters in first person are narrated by Florens, and she is narrating to another character: the Blacksmith.
So readers are relinquished of responsibility; after all, the book is not addressed directly to them. The first chapter, narrated by Florens, is followed by a chapter narrated in third person but focalized through Jacob. Then Florens re-turns as narrator in the third chapter before the fourth chapter shifts back to third person to focalize a different character, Lina. In other words, Florens remembers her mother saying something, but exactly what that something is remains absent in her story. Not me. Take her.
In those dreams she is always wanting to tell me something.
Grants for Organizations
Is stretching her eyes. Is working her mouth. A Mercy is structured by a form that inscribes repetition as a governing mode of meaning-making, and the content of that meaning accumulates across iterations of repeated moments. The unspeakable is expressed when the reader finally speaks with the specter haunting Florens.
Nor can she know what I am wanting to tell her. As a result, this scene contains more than its immediate context. The very repetition of her absence actually accumulates her presence so that she is bodied forth in the final chapter. Immediately following Florens commenting that her feet are hardened by her own travels, her mother narrates the thus far unspoken violence of the Middle Passage in her final chapter.
Therefore, the model of a linear progression of time, like the boundaries between plots of property, is revealed in these moments of flooding and drowning to be an artificial barrier too weak to contain the re-turn of the specter. The seductive linearity of initial accounts was a more digestible package that erased the recursion of bursting financial bubbles in the history of capitalism within circum-Atlantic modernity.
Past Events
If the reality of the Housing Crisis is scattered, then approaching the problem through unidirectional linear narrative may obscure rather than illuminate. Perhaps such linearity is so seductive, however, because it makes it easy to find someone to blame.
Based on fabricated evidence, ACORN was demonized so much within public discourse that, although it was cleared of charges in March , it is now bankrupt. In order to protect the power of the system on which the financial sector is based, those who blame mortgage borrowers select a subgroup on the peripheries of US society: people of color, especially because these people were relegated to the peripheries by the economic system itself. This socially peripheral group becomes symbolically central to the core of the US capitalist identity, in which each individual is supposed to be self-supportive—that is, economically autochthonous.
This logic of sacrificial expenditure is both a logic of political and social organization and of narrative organization. To reiterate, in A Mercy , characters are sacrificed in order to mobilize the plot. Her presence on the Vaark farm, especially after Rebekka recovers from her illness and completely changes her friendly demeanor with her servants, is a constant reminder of the condition of possibility for the narrative.
In an interview with Reason.
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If only, indeed. Another is can [we] read? These questions bear repeating, and repeating, and repeating. Reading A Mercy is so difficult precisely because it is haunted by ghosts of both real and fictional enslaved persons and real and fictional Native Americans killed in the genocide that made the United States possible. Only this time, the bodies may be physically alive but socially dead.
US law may no longer permit the enslavement of black people such that they may be killed and thrown overboard ships, but it does enable practices of mass incarceration and seemingly unmitigated killings by police. While these forms of violence are not equivalent to the economic violence of the Crisis, they are grounded in the same assumption that Hartman identifies as the imagination of the black body as always expendable and always a receptacle for violence.
Morrison, of course, rejects the assumption of the expendability of black bodies. A Mercy defeats containment strategies by teaching one of its most painful lessons: there is no protection from the specters whose memories have not been erased but only imperfectly deferred.
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The time for taking shelter in time is over—indeed, it never was. The catastrophe of the Housing Crisis was a failure of containment, and that containment was itself an attempt to relinquish responsibility, to leave millions of bodies behind, buried, sunk, or drowned. A Mercy places this inheritance literally in our hands—as if it was not there already. Florens, Lina, Rebekka, and Sorrow are all coping with displacement and trying to create home on the Vaark farm. In fact, the novel itself is a kind of world-building and home-making.
That house was never meant to be a home for Florens; she remains an orphan throughout, defined in her own mind by her separation from her mother who herself was separated from her home.