A taut, appealing, and often quite funny exploration of existential angst.
Every house in the country keeps a room ready in case the president should need it. He never enters most of them, so what happens when the president does come to call and an ordinary boy from an ordinary house becomes “the boy the president visited,” singled out by an attention he cannot hope to understand?
In his first novel to be translated into English, Argentine writer Romero advances a conversation begun by Camus, Kafka, and Calvino. Every household here keeps a carefully curated room set aside in anticipation of the president’s visit. Though the poorer apartments in the city center do not adhere to this tradition, the book’s teenage narrator, an avatar of unconscious suburban affluence, assures the reader that every house “owned by people like us” keeps a room reserved or “they lose their privileges.” What these privileges are no one knows. How the custom began no one remembers. Just as no one recalls what led to this unnamed country’s banning basements in the narrator’s grandparents’ time because “terrible things used to happen before, in the basements,” and no one seems to quite know how old the president is, how long he has been in power, or anything else about him other than the size of his nose, which “looks like a potato, and…that’s why he has a moustache.” In this way, Romero weaves together the implacably known world of late childhood—a place of favorite household nooks, favorite vantages in front yard trees, uncontemplated routines that are ordered according to the mysterious reasoning of parents and teachers—with all that is impossible to know about the adult world that looms on the narrator’s horizon. Romero’s unnamed narrator is believable and affecting—filled with the bodily insouciance of his age as he shinnies up trees and pads around the house in the dark—but also afflicted with the feverish dread of the eternal questions: Why this life? Why these customs? When the president finally does come to make use of his room, the narrator is pushed out of observation and into a kind of nebulous action, coming to no definitive conclusions but placing himself in a position where enlightenment will have to find him, if only because he is standing in its way.
A taut, appealing, and often quite funny exploration of existential angst.Pub Date: Jan. 30, 2020
ISBN: 978-1-9997227-2-2
Page Count: 82
Publisher: Charco Press
Review Posted Online: Oct. 27, 2019
Kirkus Reviews Issue: Nov. 15, 2019
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
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
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