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38 pages 1 hour read

Kiran Millwood Hargrave

The Mercies

Fiction | Novel | Adult | Published in 2020

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Themes

Women’s Empowerment and Solidarity as a Means of Survival

In The Mercies, a small village of women are left on their own when their men all die at sea. In their culture, gender roles are specific and strict: Religion upholds the division of labor, which is in any case necessary for survival. However, with the men gone, gender roles become a danger to the women’s survival. Hargrave’s novel explores life without men and advocates for women’s empowerment as a mean of survival.

It is Kirsten who first proves that women can live on their own and for themselves. She steps into responsibilities typically reserved for men with an ease that implies Kirsten was always capable of doing more than “womanly” housework. She saves Vardø by taking over fishing, caring for the reindeer, and inspiring the women to take over the manual labor that the men’s deaths left incomplete. Kirsten therefore presents a challenge to male-dominated society: In proving that she is capable of doing men’s work, Kirsten essentially makes men disposable. Kirsten even puts on man’s pants, which shocks Maren but symbolizes Kirsten freedom. In toiling for the good of her community and finding a way to live prosperously without her husband, Kirsten discovers a sense of self, independence, and freedom.

Though the women mourn the loss of their loved ones, they manage fine on their own. It is only the arrival of the pastor and the commissioner (two men) that disrupts Vardø’s progress. The pastor and Absalom bring strife to Vardø. Suddenly, the women have male respect to compete for, and Kirsten becomes an embarrassment instead of a hero. The pastor and Absalom represent a system of powerful men that seek to control women; the women who welcome them don’t realize what they are binding their town to. Though ostensibly reflective of religious concerns, the accusations of witchcraft that women like Kirsten face work to restore “proper” gender roles to Vardø. In this patriarchal society, men need to prove that women are incapable of governing themselves because their doing so invalidates male authority. By villainizing women as witches, men can easily dispose of women who threaten their structures of power. Of course, this fear of women proves that women can rule themselves; there’s little reason to fear and seek to stymie a power that someone doesn’t have. That it is only the arrival of men that propels this narrative of torture and murder lends retroactive weight to Hargrave’s message that a community built on women’s power is one that thrives.

The Danger of Superstitious Prejudice

In The Mercies, the danger of superstitious prejudice is as much an antagonist as Absalom or Pastor Kurtsson. Prejudice creates scapegoats out of people who are different. While the storm might have killed 40 men, the real storm in The Mercies is the anger that can fester between people.

Although Vardø largely functions well as long as the women are left to their own devices, the treatment of Diinna, a Sámi woman who married into the community, shows the latent threat of prejudice. The Sámi are the original inhabitants of the land that now hosts Vardø, but Vardø’s residents see Diinna as the foreigner. Her physical darkness, high cheekbones, and strange aura all mark her as different, but her power lies in her sense of self; she doesn’t try to fit in with the other women believing that her work and her child earn her inclusion in the community. However, only Maren truly accepts and loves her. Crucially, Diinna speaks a Sámi language that the other women don’t understand, and they use this as evidence of her strangeness: Diinna must point out that not understanding someone’s language doesn’t mean that person is a devil. While Vardø’s tribalism helps the community survive, it also prevents the residents from learning about other cultures and people (though the women do find Diinna’s religious practices interesting enough to partake in poppets and runes occasionally). Diinna is still in contact with her Sámi family but chooses to stay in Vardø after Erik’s death so her son can be a part of his father’s community. Diinna therefore gives more respect to Vardø than she receives. This eventually places Diinna directly in danger, as her differences make her the easy target for accusations of witchcraft.

Absalom’s arrival heightens the danger of superstitious prejudice. In the 17th century, as European powers began to conquer other nations, King James of England and Scotland’s famous quest to rid the Christian world of witches was a colonial imperative. Executing witches would endear the colonizers to locals who were already Christian and breed enough fear in others to ensure less pushback against imperial rule. In the 16th century, European colonial powers began developing the “curse theory” that allowed for enslavement of dark-skinned people. Curse theory suggests that people of darker skin color were naturally and permanently inferior, thus giving white people permission to oppress, abuse, and enslave them. The curse theory justifies itself in terms of the Bible; curse theorists interpreted the “curse of Ham” as a reference to dark skin color. This theory is very much part of the psyche of people like Absalom, who, even in a largely white community, is still surrounded by people he believes are inherently cursed—as women and as non-Christians. Absalom seems to genuinely believe in his religious doctrines, but there is an obvious pattern to the women he labels as witches: He selects women who live independently and differently. His religious supremacy makes him see evil in anyone who doesn’t believe in God the way he believes in God. This is prejudice based on superstition, and Absalom uses it to wreak havoc in Vardø.

True Love is Worth the Risk

Maren and Ursa develop a loving relationship that would shock the 17th century. The concept of sexual or romantic orientation as we know it simply did not exist in the 17th century. Sex was for procreation and for male pleasure; to the extent that there existed any concept of sexual desire between members of the same sex, those concepts focused largely on men, conceptualized the desire in terms of actions rather than identities, and condemned it. Sex was not something that could occur between women in the popular imagination. However, Maren and Ursa’s relationship is deeper than sex—sex is simply one of the ways they express their love. Their connection is immediate: They enjoy one another’s company and easily merge their lives together. Ursa and Maren confide in one another within a few days. In a society where tight-knit tribalism keeps people apart, Ursa and Maren’s connection is startling and seamless, though it does cause some confusion among the other women. Maren’s mother worries that Ursa uses Maren as a servant, and other women worry that Ursa cannot be trusted because she is the commissioner’s wife.

Maren and Ursa persist in their friendship because it is precious. Maren is surprised by her attraction to Ursa, while Ursa is desperate for the company of other women—company she misses after leaving her sister in Bergen. The boundary they cross into sex is dangerous; it would be so misunderstood by others that it could easily lead to accusations of witchcraft. In fact, Absalom accuses Maren of bewitching his wife, proving that the closeness between Maren and Ursa is noticeable and dangerous. Still, Maren and Ursa live for one another. Ursa kills Absalom for Maren, and Maren refuses to let Ursa run away from Vardø with her for fear of getting caught. Maren lets Ursa go, preferring to have loved and lost than to place Ursa in danger. The book ends with Maren’s reflecting that for all the horror of the novel’s events, it is enough to have been known and loved by Ursa. The love Maren receives from Ursa inspires her to hope for a better future.

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