Clear-eyed and captivating, Olafsson writes effortlessly, seemingly incapable of a dull paragraph or page. His people are...
Icelandic-born Olafsson (The Journey Home, 2000; Absolution, 1994) tells the life story of William Randolph Hearst’s fictional butler—deftly and grippingly.
Even when they’re married around 1910, in Iceland, something is amiss between handsome Kristjan Benediktsson and his lovely bride, Elisabet: Kristjan, the son of a simple fisherman, feels outranked by Elisabet, who performs Mozart on the piano and whose successful father, in import-export, is locally prominent. Still, an effort is made, the couple has four children, and, when Elisabet’s father dies, Kristjan takes over the business (and rescues it, in fact, from the fiscal abyss). But Kristjan likes his business trips to New York only too well (WWI has closed Europe’s markets to him) and likes them even better after he meets the beautiful Klara, Swedish, a dancer, the fiancée of a New York business associate, and—when he falls in love with her—the beginning of a terrible darkness for Kristjan. In 1918, he returns to Reykjavik, intending to stick by his family for keeps—until a letter from Klara , saying she’s pregnant. Without even a goodbye, Kristjan steals away, books ship, reunites with Klara—and later holds her in his arms as she dies following an abortion. And so it is that Kristjan, desolate, fallen so low as to be waiting tables at the Waldorf, catches the eye of Hearst, who so likes the handsome Icelander that he makes him his individual servant whenever he’s at the Waldorf—and then, in 1921, takes him out to San Simeon, where he’ll stay for the next 16 years, trusted and impeccable butler in the great palace that entertains celebrities galore and houses Hearst’s lovely mistress, Marion Davies. And then? Well, it’s now 1937, the Hearst fortune isn’t what it was, and . . . but let the reader find out.
Clear-eyed and captivating, Olafsson writes effortlessly, seemingly incapable of a dull paragraph or page. His people are real, period atmosphere and detail unobtrusively perfect, his novel a gem and small masterpiece.Pub Date: Oct. 28, 2003
ISBN: 0-375-42254-4
Page Count: 272
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2003
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
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
SEEN & HEARD
BOOK TO SCREEN
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
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