Human, unpretentious, compelling explorations of what we are, and why.
From the prolific Nobelist, a novel rather artificially constructed—but for the worthy purpose of looking inside to find what meaning life can hold for any of us.
An airliner en route to Israel is forced down at a small airport on the blizzard-swept east coast, where the “survivors” are picked up by locals and given shelter until as the plane can take off again. Five of them are so unlucky as to be escorted home by a very strange man indeed, who puts them—imprisons them—in a sealed room, announces himself a “judge,” and declares his intent to play “games” with what’s most precious to them, “the power of their imagination.” As the “games” grow increasingly sinister—the judge at first insists only that each reveal something personal, but before the long night is over he’ll demand that one be chosen as an assassination victim—the travelers, increasingly frightened, become also increasingly introspective, so that we learn more and more about each of their lives. There is Claudia, a theater producer and director; Bruce Schwarz, an aging roué; Yoav, an Israeli soldier with a secret deadly disease; George Kirsten, a scholarly archivist; and, most central, Razziel Friedman, head of a Talmudic school in Brooklyn. As the life of each is revealed, so is the reason each has for continuing to live: a love affair, a historically important paper to deliver, or, as in Razziel’s case, an appointment with a mysterious figure who is to restore to him the memory of his life before age 18, lost in the ruinous trauma of his having been a political prisoner. There will be moments of memory, kindness, breakdown, pensiveness, and terror before an ending that (engineered by the judge’s hunchback “servant”) will seem convincing perhaps to few. But no matter. Wiesel, by then, will have entered the hearts, rewardingly, both of his characters and of his readers.
Human, unpretentious, compelling explorations of what we are, and why.Pub Date: Aug. 27, 2002
ISBN: 0-375-40909-2
Page Count: 224
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 2002
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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