by José Saramago translated by Giovanni Pontiero ‧ RELEASE DATE: April 4, 2012
This slim collection of early, experimental stories represents a footnote on the career of the Nobel Prize–winning novelist, who died in 2010.
Originally published as a collection in 1978, these stories reflect the social conscience and penchant for elaborate allegory that would flourish in his celebrated novels, such as Blindness (1998). In the introduction, translator Giovanni Pontiero (who died in 1996) explains that half of the stories “might be described as political allegories evoking the horror and repression which paralysed Portugal under the harsh regime of Salazar.” Since most American readers aren’t all that familiar with Portugal’s political situation of the 1960s, the opening “The Chair” might be particularly impenetrable without the brief context provided by the introduction, which alludes to “the dictator’s dramatic departure from the political scene on 6 September 1968, when the deckchair in which he was sitting collapsed and the shock precipitated a brain haemorrhage.” The story itself is oblique and matter of fact, minutely detailed, largely devoid of passion, punctuated by the exhortation, “Fall, old man, fall. See how your feet are higher than your head.” In the other stories as well, characters are unnamed, mainly described by their social positions, as the late author spins parables about an oil embargo that leaves a man all but imprisoned in his car (“Embargo”), a society in which things stop working (doors, watches, buildings, entire streets) and even disappear (“Things”) and the establishment of a cemetery that becomes “a city of the dead surrounded by four cities of living human beings” (“Reflux”). “The Centaur” reads most like a fable, yet it is also the most compelling story here, as the author shows the protagonist’s divided nature, referring to the mythical creature as both horse and man, who “had learned how to curb the animal’s impatience, sometimes opposing him with an upsurge of violence which clouded his thoughts or perhaps affected that part of his body where the orders coming from his brain clashed with the dark instincts nourished between his flanks. Though some of the stories work well on their own, the collection will mainly interest those already very familiar with the author and his novels.
Pub Date: April 4, 2012
ISBN: 978-1-84467-878-5
Page Count: 160
Publisher: Verso
Review Posted Online: March 4, 2012
Kirkus Reviews Issue: March 15, 2012
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by José Saramago translated by Giovanni Pontiero
by Margaret Atwood ‧ RELEASE DATE: Feb. 17, 1985
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
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The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
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edited by Margaret Atwood & Douglas Preston
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by George Orwell ‧ RELEASE DATE: Aug. 26, 1946
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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by George Orwell ; edited by Peter Davison
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by George Orwell & edited by Peter Davison
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