The Mercy Seat

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Overview

Few first novels garner the kind of powerful praise awarded this epic story that takes place on the dusty, remorseless Oklahoma frontier, where two brothers are deadlocked in a furious rivalry. Fayette is an enterprising schemer hoping to cash in on his brother's talents as a gunsmith. John, determined not to repeat the crime that forced both families to flee their Kentucky homes, doggedly follows his tenacious brother west, while he watches his own family disintegrate. Wondrously told through the wary eyes of John's ten-year-old daughter, Mattie, whose gift of premonition proves to be both a blessing and a curse, The Mercy Seat resounds with the rhythms of the Old Testament even as it explores the mysteries of the Native American spirit world. Sharing Faulkner's understanding of the inescapable pull of family and history, and Cormac McCarthy's appreciation of the stark beauty of the American wilderness, Rilla Askew imbues this momentous work with her tremendous energy and emotional range. It is an extraordinary novel from a prodigious new talent.

Editorial Reviews

Among the many triumphs of this story of thick and bad blood, none surpasses its depiction of time and place: Oklahoma in the late 1800s, a gritty epoch of guns, whiskey and horses. But this is no mere western shoot-'em-up. Told most often in the voice of young Mattie Lodi, this first novel reverberates with the girl's sadness, spirit and longing. In 1887, when Mattie is 10, her father, John, and his brother, Lafayette "Fate" Lodi, leave Kentucky with their families to escape arrest for having violated gun patent law. A preternaturally gifted gunsmith, John vows to forsake his craft. While Fate prospers by treating Indian Territory as a land of outlaw opportunity, John's passage west brings one affliction after another: Mattie's mother dies in Arkansas of a broken heart, and all five children arrive in Oklahoma with scarlet fever. Although Mattie is described as the "incarnation of human will," it's her introspective nature that powers this tale of pride and resentment. Mattie's capacity "to enter the soul of another... for the sake of mercy" complicates what might otherwise have seemed a tale too overtly archetypal, too sternly Old Testament. Askew's prose is mesmerizing, saturated with the rhythms of the prophets and patriarchs (as heard by Faulkner rather than Steinbeck). The story she tells is unforgettable. Author tour. (Aug.) FYI: Askew is the author of the 1993 short story collection Strange Business, reissued in June 1997 by Viking. -- PUBLISHERS WEEKLY.

Author Information

Bio of Rilla Askew

Rilla Askew is the author of "Strange Business," a collection of stories, & the novel "The Mercy Seat," which was nominated for the PEN/Faulkner award & the Mountains & Plains Booksellers Association Award, & was the winner of the Western Heritage Award & the Oklahoma Book Award. 010

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Additional Info

Imprint

Penguin Group E-Books

Filesize

1.73 MB

Number of Pages

448

eBook ISBN

9780786573776

Awards

  • Oklahoma Book Award
  • PEN/Faulkner Award for Fiction

Excerpt from: The Mercy Seat by Rilla Askew

Book One
Carapace

This is what I remember.

My mama was crying. It was cold in the house, and so dark. I was quiet under the covers, with my eyes open. The sound came down soft in the darkness, like the sound Sudie's pups made under the porch after she tore her foot off in the fox trap and Papa had to shoot her. Before Uncle Fay pulled them out one by one, black blind fluffs and the one white one and the tricolor, and tied them inside a flour sack and threw them in the creek. That sound. I tried to tell myself it was the new baby crying, up in the loft bed between Mama and Papa, wrapped tight in white strips of cotton, soft in the featherbed, warm, crying hungry. But I knew it was not the new baby crying. It was Mama.

My eyes hurt, from the cold, from staring into the dark seeing nothing. Thomas jerked in his sleep and whimpered, scrabbled under the covers, pushed out from beneath them with his fat little arms. I lifted my hand from where it was warm under the feathertick and felt for his forehead. I was afraid for him then, more than always, more than every half second, trembling -- for fever, for mystery, for what could take him -- from the very hour he was born. So I felt him. His forehead was dry and naked, smooth with cold. I rolled him against me, lifted his head and slipped my arm under, held him in the crook of my arm with his face turned toward me, soft, breathing milk. On the other side of him Little Jim Dee kicked once in his sleep and got still. At my back I felt Jonaphrene's slow breathing. I held the feathertick over my brother's head to warm him, off his face so he wouldn't smother. My nose and cheekbones were burning. The hard knot cramped my chest. My mother was crying. My fingers were turning ice to the bone.

Later, Papa's voice called me.

This was all the same night.

"Matt!" Papa said. And then softer: "Mattie!"

A weight was on me, like the cold press of pond water, and I tried to fight my way up. I struggled to the top, pushing, like black swimming, and opened my eyes. Still it was dark. I looked to the window. No light filtered through the oilpaper, not even the least hint of dawn's whitish haze.

"Matt!"

Thomas twitched awake. He shuddered and reached out for me under the covers. I put my hand to him and felt his fist wrap tight around my finger.

"Martha! Git up now!" Silence, and then "Martha Ruth!" and I knew I was in trouble, because I had in those days, and still have, four names. "Git up and light the fire, would you! Mama's not feeling good."

I whispered to Thomas and slipped my arm from underneath him. My hand was asleep, tingling, buzzing on the inside like caught insects. Over my head the wood creaked in the loft bed. I pulled my finger loose from Thomas and wriggled out from under the feathertick, stood shivery and barelegged in my underslip on the cold floor. Thomas sighed and turned over. Jonaphrene rolled in sleeping to take my place.

I moved quickly over Mama's rag carpet and hunted in the dark until I found the iron poker. It stung cold in my hand like it would strip the skin back, and I traded hands, shifting it from one hand to the other while I poked the red embers. My hands and knees burned where I knelt on the cold hearthstones to blow. I picked sticks and twigs from the woodbox. The fire licked up yellow. I put two splits of kindling down crossways and stepped back to wait, dancing on the hearthstones, my arms wrapped around me. I thought then to run back to the bed and crawl under the covers, but the loft creaked again, and I waited by the fireplace, my breath small and smoky in the flickering light.