Not much happens in these elegantly written pages, but the atmospherics are perfect: a brilliant evocation of place, memory,...
In his fourth novel, first published in 1975, Nobel Prize–winning French writer Modiano develops his now-trademark demimonde of secrets kept and personae doffed and donned.
The time is 1960, the setting a small resort town alongside an alpine lake somewhere within easy distance of the Franco-Swiss border. Hovering on the horizon is the dark cloud of the Algerian War. An 18-year-old boy has come to that town from Paris: “A disagreeable, police-heavy atmosphere prevailed there. Far too many roundups for my taste. Exploding bombs.” The choice of venue is deliberate, for in this little town the protagonist can idle the days away without drawing any unnecessary attention—and if attention does center on him, he can slip away across the lake. “I didn’t yet know,” he says meaningfully, “that Switzerland doesn’t exist.” Given to gloom and panic, he takes on an improbable pseudonym but keeps to himself, walling himself off in the mountains. Yet—well, cherchez la femme, and la femme will turn up, this time in the form of the beautiful Yvonne Jacquet, who lives a luxurious life of villas, Great Danes, and sports cars between film auditions. “You understand, she’s here incognito,” hisses her companion, a so-called doctor elegant of scarf and cigarette—and a man who himself has a lot to hide. (He often boasts that he has practiced medicine in Switzerland, at which our protagonist thinks, “each time I felt like asking him, ‘What kind of medicine?’ ") One theory of hiding successfully, the reader supposes, might be to surround oneself with people with even greater reasons to keep a low profile, but for all that, these people live as if their lives depended on being recognized—typically mysterious Modiano behavior, in other words, with shades of Giorgio Bassani and Graham Greene.
Not much happens in these elegantly written pages, but the atmospherics are perfect: a brilliant evocation of place, memory, and loss, shot through with an aching nostalgia.Pub Date: May 31, 2016
ISBN: 978-1-59051-767-3
Page Count: 176
Publisher: Other Press
Review Posted Online: March 14, 2016
Kirkus Reviews Issue: April 1, 2016
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
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
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
