Posturing, silly, sophomoric—though the glib Houellebecq is good at trying to make you think otherwise.
From the famous, or infamous, Houellebecq (The Elementary Particles, 2000): a pale imitation of himself at his scandalous and probing best.
A narrator once again named Michel (at 40, resigned to life-as-disappointment) works for the Ministry of Culture in Paris arranging shows of contemporary artists’ work. When his hated father dies and leaves money, he takes a vacation to Thailand, where, between massage parlor delights, he meets a travel agent named Valérie, traveling on the same package. The two don’t hit it off in exotic and erotic Thailand, but, back in Paris, they plunge into an explicitly rendered psychosexual bliss (“I don’t know if I’ll be able to get it up right away.” “Then go down on me. It’ll do me good”). Valerie’s boss, Jean-Yves, it turns out, is offered a great position with a new company (“Is it a big company?” “I’d say so; it’s the biggest hotel chain in the world”), where he’s charged with reviving a slumping segment of the company’s worldwide chain of resorts. Valérie goes along as a partner, but it’s narrator- lover Michel who comes up with the truly brilliant idea about how to pull the resorts out of their slump (“Offer [clubs] where the people get to fuck”), as a consequence of which there’s comes to be born a whole new corporate investment in “sex tourism,” of exactly the kind Michel had enjoyed back in Thailand—the very place, once the new line of “Aphrodite clubs” has proven to be an enormous money-making success, that Michel, Valérie, and Jean-Yves return to for a celebratory vacation of their own. Bummer, though! After some initial episodes of great sex (“After a time I no longer knew how many hands or fingers stroked and wrapped around my prick”), there’s a terrorist attack on the club, turbaned men firing machine guns, a bomb going off. With tragic results indeed.
Posturing, silly, sophomoric—though the glib Houellebecq is good at trying to make you think otherwise.Pub Date: July 18, 2003
ISBN: 0-375-41462-2
Page Count: 272
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2003
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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