Property
Winner of the Women's Prize for Fiction
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4.0 • 1 Rating
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- $12.99
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- $12.99
Publisher Description
WINNER OF THE WOMEN'S PRIZE FOR FICTION 2003
Manon Gaudet is unhappily married to the owner of a Louisiana sugar plantation. She misses her family and longs for the vibrant lifestyle of her native New Orleans, but most of all, she longs to be free of the suffocating domestic situation. The tension revolves around Sarah, a slave girl who may have been given to Manon as a wedding present from her aunt, whose young son Walter is living proof of where Manon's husband's inclinations lie.
This private drama is being played out against a brooding atmosphere of slave unrest and bloody uprisings. And if the attacks reach Manon's house, no one can be sure which way Sarah will turn . . .
Beautifully written, PROPERTY is an intricately told tale of both individual stories and of a country in a time of change, where ownership is at once everything and nothing, and where belonging, by contrast, is all.
PUBLISHERS WEEKLY
The vivid imagination that allowed Martin to create Jekyll and Hyde's eponymous servant in Mary Reilly is again evident in this powerful story of a petulant and bitter plantation mistress whose absorption in her own misery leaves her blind to that of a slave she despises. Manon Gaudet is married to her husband before she could know whether the socially advantageous match would be a happy one, before discovering he is a cruel slave master with a propensity for debt and certainly before realizing that he will force Sarah, the light-skinned housekeeper who was a wedding gift from her aunt, to bear two of his illegitimate children. She learns all of these things soon after leaving her native New Orleans and arriving on her new husband's Louisiana sugar plantation, and is henceforth consumed by loathing for both her domestic predicament and the society in which it is possible. Manon's fierce discontent makes her an excellent narrator, as she has long abandoned any romantic notions about slavery and the plantation life. Her husband's arbitrary cruelty fills her with disgust for him, the "negroes" he abuses and herself. Her misery is grotesquely self-centered; she never evinces even a glimmer of sympathy for Sarah. Martin conveys this sickening blend of moral delusion and self-serving repugnance in feverish prose that perfectly reflects Manon's desperation. The racial unrest of the 1820s reaches this unhappy trio in the form of a small gang of escaped slaves who, in an unforgettably hellish scene, wound Manon, murder her husband and allow Sarah to escape. Manon's subsequent determination to have Sarah caught and returned is perhaps the most disturbing aspect of this story, an emphatic reminder that the inhumanity of slave ownership knew no bounds. Yet in depicting Manon's plight as wife and widow, Martin also demonstrates compassion for white women in the patriarchal society of the antebellum South. In addressing these issues, Martin adds resonance to a compelling story.
