From the Publisher
"Alias Grace has all the pacing of a commercial novel and all the resonance of a classic."
Washington Post Book World
"A stunning novel full of sly wit, compassion and insight, boasting writing that is lyrical, assured, evocative of time and place, and seductive in its power to engage us."
"Atwood provides the elements of a walloping good read: suspense, mystery, titillation, and a fully crafted but never ponderous historical milieu."
St. Louis Post-Dispatch
"Villain or victim, Atwood's Grace is intriguing company."
"A shadowy, fascinating novel."
The murders were shocking, and the accused parties became the subjects of obsession in
19th-century Canada. Could an "uncommonly pretty" servant girl named Grace Marks really
have participated in the murders of her wealthy employer and his paramour housekeeper in
1843? Or did the stable hand act alone? The true story of Grace Marks has been told and
retold over the years, but never as powerfully as in Margaret Atwood's new novel, Alias
Grace, recently shortlisted for Britain's Booker Prize. The prolific Canadian writer weaves
poems, newspaper accounts, book excerpts and letters into a narrative so vivid and engrossing
you can smell the English shaving soap, see clean sheets flapping in the breeze.
Convicted of murder at 16, Grace is imprisoned for life. The story begins as Dr. Simon Jordan
of Massachusetts comes to interview her in an attempt to understand the criminally insane.
"Gone mad is what they say," Grace says, "and sometimes run mad, as if mad is a direction,
like west." The earnest doctor is dominated by a mother who urges him to give up on helping
lunatics, invest in sewing machines and marry a well-born woman. Grace — working class girl,
murderess — comes to fascinate him.
Simon visits her regularly at the governor's house, where she works as a trustee. The story
revolves around these meetings: Grace tells her story in her coy, perfunctory manner, and he
scribbles notes, occasionally pulling out objects — a fresh apple, a candlestick — that might
trigger a memory and reveal the truth. "What he wants is certainty." But Grace claims partial
memory loss. Her story runs in and out of shadows, but never smack into what satisfies the
doctor as truth. "It's as if I never existed, because no trace of me remains, I have left no
marks," Grace says. "And that way I cannot be followed. It is almost the same as being
Both Grace and Simon are looking for their own truth, which, we ultimately discover, is
ghostly, elusive — nothing the doctor can write neatly in his little ledger for himself or for her,
or for posterity. Atwood makes their search a story for the ages. -- Salon
Publishers Weekly - Publisher's Weekly
In Atwood's latest, the notorious 19th-century murderess Grace Marks tells her story in a Toronto asylum. (Nov.)
Basing her new work on a sensational double murder that occurred in Canada in 1843, poet/novelist Atwood (e.g., The Robber Bride) has crafted a forceful tale that probes deep into the psychology of accused murderess Grace Marks even as it exposes the social conditions that made such a murder possible. Less caustically feminist than in some previous works but still concerned with the forces that have subjugated women throughout history, Atwood follows Grace from Ireland, which her feckless father is finally forced to depart; through the family's ocean voyage, on which her mother dies; to Canada, where she starts working as a servant at age 12 and befriends Mary Whitney, whose subsequent death from a botched abortion comes, perhaps quite literally, to haunt her. Grace ends up at the Kinnear household, where the master and his housekeeper-mistress are murdered by the stableman McDermott-supposedly with Grace's help. Grace herself has no recollection of the events, and young American doctor Simon Jordan works ceaselessly to uncover her memories and solve the puzzle of her guilt or innocence. That solution, when it finally arrives, is not wholly satisfying, and attentive readers will have surmised it well beforehand, but Atwood's compelling prose, fine attention to historical detail, and firm guidance of her story make the long trip to the book's end entirely worth the trouble. Highly recommended.
School Library Journal
YAIn 1843, at the age of 16, Grace Marks, a recent Irish immigrant to Canada, was sentenced to life in prison as an accomplice in the murder of her employer, Thomas Kinnear, and his housekeeper, Nancy Montgomery. The teen confessed to the crime early and later claimed no memory of the events. She was arrested in upstate New York, having run from her employer's house with the handyman, who was hanged for the crimes. Atwood became interested in the case, a true story, and added the involvement of Dr. Simon Jordan. This novel is set 16 years after the crime took place when Jordan, who is interested in the fledgling science of psychology, is recruited by a local Methodist minister intent on proving Grace's innocence to examine her and determine the "truth." Readers are made privy to innumerable details of daily life in that time and place. The concept is intriguing, and while YAs never actually learn the truth, they certainly become involved in Grace's history as well as Simon's bumbling attempts at independence from a domineering mother. Atwood may be playing a game with her readers, but it is one in which many will willingly participate for the fun and mystery while learning about life in colonial Canada. While long, this story reads quickly and all of the characters are compelling, different, and well developed.
. . .if Grace manages to keep several people in her life simultaneously at bay and attracted to her, the reader, too, is part of her fascinated audience. For her narrative powers are what draw one through the intricate maze of Ms. Atwood's story and lead to the heart of its complex vision of human motive and self-awareness.
The New York Times
A fascinating elaborationand somewhat of a departure for Atwood (The Robber Bride, 1993, etc.)of the life of Grace Marks, one of Canada's more infamous killers.
As notorious as our own Lizzy Borden, Grace Marks was barely 16 when she and James McDermott were arrested in 1843 for the brutal murder of their employer Thomas Kinnear and his pregnant mistress/housekeeper Nancy Montgomery. The trial was a titillating sensation; McDermott was hanged, and Grace was given the dubious mercy of life imprisonment. Some felt her an innocent dupe, others thought her a cold-blooded murderer; the truth remains elusive. Atwood reimagines Grace's story, and with delicate skill all but replaces history with her chronicle of events.
Anchoring the narrative is the arrival of Dr. Simon Jordan, who has come to investigate the sanity of Grace after some 16 years of incarceration. A convert to the new field of psychiatry, Jordan is hoping to help Grace recover her memory of the murders, which she claims no recollection of. He begins by asking for her life story. Grace tells him of her first commission as a laundry maid in a grand house, and of her dear friend Mary, dead at 16 from a botched abortion. On she goes until she calmly relates the events that led up to the murders, and her attempted escape with McDermott afterward. Hypnotism finally "restores" her memory (or is Grace misleading Jordan?), with results that are both shocking and ambiguous.
Employing a variety of narrativesGrace's own, Dr. Jordan's, letters, newspaper accounts from the time, poems from the period, and the published confessions of the accuseda complex story is pieced together. The image of the patchwork quilt, used repeatedly in the novel, is a fitting metaphor for the multiplicity of truths that Grace exemplifies.
Through characteristically elegant prose and a mix of narrative techniques, Atwood not only crafts an eerie, unsettling tale of murder and obsession, but also a stunning portrait of the lives of women in another time.
Read an Excerpt
I am sitting on the purple velvet settee in the Governor's parlour, the Governor's wife's parlour; it has always been the Governor's wife's parlour although it is not always the same wife, as they change them around according to the politics. I have my hands folded in my lap the proper way although I have no gloves. The gloves I would wish to have would be smooth and white, and would be without a wrinkle.
I am often in this parlour, clearing away the tea things and dusting the small tables and the long mirror with the frame of grapes and leaves around its and the pianoforte; and the tall clock that came from Europe, with the orange-gold sun and the silver moon, that go in and out according to the time of day and the week of the month. I like the clock best of anything in the parlour, although it measures time and I have too much of that on my hands already.
But I have never sat down on the settee before, as it is for the guests. Mrs. Alderman Parkinson said a lady must never sit in a chair a gentleman has just vacated, though she would not say why; but Mary Whitney said, Because, you silly goose, it's still warm from his bum; which was a coarse thing to say. So I cannot sit here without thinking of the ladylike bums that have sat on this very settee, all delicate and white, like wobbly softboiled eggs.
The visitors wear afternoon dresses with rows of buttons up their fronts, and stiff wire crinolines beneath. It's a wonder they can sit down at all, and when they walk, nothing touches their legs under the billowing skirts, except their shifts and stockings. They are like swans, drifting along on unseen feet; or else like the jellyfish in the waters of the rocky harbour near our house, when I was little, before I ever made the long sad journey across the ocean. They were bell-shaped and ruffled, gracefully waving and lovely under the sea; but if they washed up on the beach and dried out in the sun there was nothing left of them. And that is what the ladies are like: mostly water.
There were no wire crinolines when I was first brought here. They were horsehair then, as the wire ones were not thought of. I have looked at them hanging in the wardrobes, when I go in to tidy and empty the slops. They are like birdcages; but what is being caged in? Legs, the legs of ladies; legs penned in so they cannot get out and go rubbing up against the gentlemen's trousers. The Governor's wife never says legs, although the newspapers said legs when they were talking about Nancy, with her dead legs sticking out from under the washtub.
It isn't only the jellyfish ladies that come. On Tuesdays we have the Woman Question, and the emancipation of this or that, with reform-minded persons of both sexes; and on Thursdays the Spiritualist Circle, for tea and conversing with the dead, which is a comfort to the Governor's wife because of her departed infant son. But mainly it is the ladies. They sit sipping from the thin cups, and the Governor's wife rings a little china bell. She does not like being the Governor's wife, she would prefer the Governor to be the governor of something other than a prison. The Governor had good enough friends to get him made the Governor, but not for anything else.
So here she is, and she must make the most of her social position and accomplishments, and although an object of fear, like a spider, and of charity as well, I am also one of the accomplishments. I come into the room and curtsy and move about, mouth straight, head bent, and I pick up the cups or set them down, depending; and they stare without appearing to, out from under their bonnets.
The reason they want to see me is that I am a celebrated murderess. Or that is what has been written down. When I first saw it I was surprised because they say Celebrated Singer and Celebrated Poetess and Celebrated Spiritualist and Celebrated Actress, but what is there to celebrate about murder? All the same, Murderess is a strong word to have attached to you. It has a smell to it, that word—musky and oppressive, like dead flowers in a vase. Sometimes at night I whisper it over to myself. Murderess, Murderess. It rustles, like a taffeta skirt across the floor.
Murderer is merely brutal. It's like a hammer, or a lump of metal. I would rather be a murderess than a murderer, if those are the only choices.
Sometimes when I am dusting the mirror with the grapes I look at myself in it, although I know it is vanity. In the afternoon light of the parlour my skin is a pale mauve, like a faded bruise, and my teeth are greenish. I think of all the things that have been written about me—that I am an inhuman female demon, that I am an innocent victim of a blackguard forced against my will and in danger of my own life, that I was too ignorant to know how to act and that to hang me would be judicial murder, that I am fond of animals, that I am very handsome with a brilliant complexion, that I have blue eyes, that I have green eyes, that I have auburn and also brown hair, that I am tall and also not above the average height, that I am well and decently dressed, that I robbed a dead woman to appear so, that I am brisk and smart about my work, that I am of a sullen disposition with a quarrelsome temper, that I have the appearance of a person rather above my humble station, that I am a good girl with a pliable nature and no harm is told of me, that I am cunning and devious, that I am soft in the head and little better than an idiot. And I wonder, how can I be all of these different things at once?
It was my own lawyer, Mr. Kenneth MacKenzie, Esq., who told them I was next door to an idiot. I was angry with him over that, but he said it was by far my best chance and I should not appear to be too intelligent. He said he would plead my case to the utmost of his ability, because whatever the truth of the matter I was little more than a child at the time, and he supposed it came down to free will and whether or not one held with it. He was a kind gentleman although I could not make head nor tail of much of what he said, but it must have been good pleading. The newspapers wrote that he performed heroically against overwhelming odds. Though I don't know why they called it pleading, as he was not pleading but trying to make all of the witnesses appear immoral or malicious, or else mistaken.
I wonder if he ever believed a word I said.
When I have gone out of the room with the tray, the ladies look at the Governor's wife's scrapbook. Oh imagine, I feel quite faint, they say, and You let that woman walk around loose in your house, you must have nerves of iron, my own would never stand it. Oh well one must get used to such things in our situation, we are virtually prisoners ourselves you know, although one must feel pity for these poor benighted creatures, and after all she was trained as a servant, and it's as well to keep them employed, she is a wonderful seamstress, quite deft and accomplished, she is a great help in that way especially with the girls' frocks, she has an eye for trimmings, and under happier circumstances she could have made an excellent milliner's assistant.
Although naturally she can be here only during the day, I would not have her in the house at night. You are aware that she has spent time in the Lunatic Asylum in Toronto, seven or eight years ago it was, and although she appears to be perfectly recovered you never know when they may get carried away again, sometimes she talks to herself and sings out loud in a most peculiar manner. One cannot take chances, the keepers conduct her back in the evenings and lock her up properly, otherwise I wouldn't be able to sleep a wink. Oh I don't blame you, there is only so far one can go in Christian charity, a leopard cannot change its spots and no one could say you have not done your duty and shown a proper feeling.
The Governor's wife's scrapbook is kept on the round table with the silk shawl covering it, branches like vines intertwined, with flowers and red fruit and blue birds, it is really one large tree and if you stare at it long enough the vines begin to twist as if a wind is blowing them. It was sent from India by her eldest daughter who is married to a missionary, which is not a thing I would care to do myself. You would be sure to die early, if not from the rioting natives as at Cawnpore with horrid outrages committed on the persons of respectable gentlewomen, and a mercy they were all slaughtered and put out of their misery, for only think of the shame; then from the malaria, which turns you entirely yellow, and you expire in raving fits; in any case before you could turn around, there you would be, buried under a palm tree in a foreign clime. I have seen pictures of them in the book of Eastern engravings the Governor's wife takes out when she wishes to shed a tear.
On the same round table is the stack of Godey's Ladies' Books with the fashions that come up from the States, and also the Keepsake Albums of the two younger daughters. Miss Lydia tells me I am a romantic figure; but then the two of them are so young they hardly know what they are saying. Sometimes they pry and tease; they say, Grace, why don't you ever smile or laugh, we never see you smiling, and I say I suppose Miss I have gotten out of the way of it. My face won't bend in that direction any more. But if I laughed out loud I might not be able to stop; and also it would spoil their romantic notion of me. Romantic people are not supposed to laugh, I know that much from looking at the pictures.
The daughters put all kinds of things into their albums, little scraps of cloth from their dresses, little snippets of ribbon, pictures cut from magazines—the Ruins of Ancient Rome, the Picturesque Monasteries of the French Alps, Old London Bridge, Niagara Falls in summer and in winter, which is a thing I would like to see as all say it is very impressive, and portraits of Lady This and Lord That from England. And their friends write things in their graceful handwriting, To Dearest Lydia from your Eternal Friend, Clara Richards; To Dearest Marianne In Memory of Our Splendid Picnic on the Shores of Bluest Lake Ontario. And also poems:
As round about the sturdy Oak
Entwines the loving Ivy Vine,
My Faith so true, I pledge to You,
'Twill evermore be none but Thine, Your Faithful Laura.
Although from you I far must roam,
Do not be broken hearted,
We two who in the Soul are One
Are never truly parted. Your Lucy.
This young lady was shortly afterwards drowned in the Lake when her ship went down in a gale, and nothing was ever found but her box with her initials done in silver nails; it was still locked, so although damp, nothing spilt out, and Miss Lydia was given a scarf out of it as a keepsake.
When I am dead and in my grave
And all my bones are rotten,
When this you see, remember me,
Lest I should be forgotten.
That one is signed, I will always be with you in Spirit, Your loving 'Nancy', Hannah Edmonds, and I must say the first time I saw that, it gave me a fright, although of course it was a different Nancy. Still, the rotten bones. They would be, by now. Her face was all black by the time they found her, there must have been a dreadful smell. It was so hot then, it was July, still she went off surprisingly soon, you'd think she would have kept longer in the dairy, it is usually cool down there. I am certainly glad I was not present, as it would have been very distressing.
I don't know why they are all so eager to be remembered. What good will it do them? There are some things that should be forgotten by everyone, and never spoken of again.
The Governor's wife's scrapbook is quite different. Of course she is a grown woman and not a young girl, so although she is just as fond of remembering, what she wants to remember is not violets or a picnic. No Dearest and Love and Beauty, no Eternal Friends, none of those things for her; what it has instead is all the famous criminals in it—the ones that have been hanged, or else brought here to be penitent, because this is a Penitentiary and you are supposed to repent while in it, and you will do better if you say you have done so, whether you have anything to repent of or not.
The Governor's wife cuts these crimes out of the newspapers and pastes them in; she will even write away for old newspapers with crimes that were done before her time. It is her collection, she is a lady and they are all collecting things these days, and so she must collect something, and she does this instead of pulling up ferns or pressing flowers, and in any case she likes to horrify her acquaintances.
So I have read what they put in about me. She showed the scrapbook to me herself, I suppose she wanted to see what I would do; but I've learnt how to keep my face still, I made my eyes wide and flat, like an owl's in torchlight, and I said I had repented in bitter tears, and was now a changed person, and would she wish me to remove the tea things now; but I've looked in there since, many times, when I've been in the parlour by myself.
A lot of it is lies. They said in the newspaper that I was illiterate, but I could read some even then. I was taught early by my mother, before she got too tired for it, and I did my sampler with leftover thread, A is for Apple, B is for Bee; and also Mary Whitney used to read with me, at Mrs. Alderman Parkinson's, when we were doing the mending; and I've learnt a lot more since being here, as they teach you on purpose. They want you to be able to read the Bible, and also tracts, as religion and thrashing are the only remedies for a depraved nature and our immortal souls must be considered. It is shocking how many crimes the Bible contains. The Governor's wife should cut them all out and paste them into her scrapbook.
They did say some true things. They said I had a good character; and that was so, because nobody had ever taken advantage of me, although they tried. But they called James McDermott my paramour. They wrote it down, right in the newspaper. I think it is disgusting to write such things down.
That is what really interests them—the gentlemen and the ladies both. They don't care if I killed anyone, I could have cut dozens of throats, it's only what they admire in a soldier, they'd scarcely blink. No: was I really a paramour, is their chief concern, and they don't even know themselves whether they want the answer to be no or yes.
I'm not looking at the scrapbook now, because they may come in at any moment. I sit with my rough hands folded, eyes down, staring at the flowers in the Turkey carpet. Or they are supposed to be flowers. They have petals the shape of the diamonds on a playing card; like the cards spread out on the table at Mr. Kinnear's, after the gentlemen had been playing the night before. Hard and angular. But red, a deep thick red. Thick strangled tongues.