The magical-realist example of Gabriel Garc°a M†rquez is only one of numerous literary influences to be detected (and often proudly displayed) in this exuberantly inventive first novel set in Cuba just before Castro’s Revolution. The action occurs in “the Island,” which is in fact a secluded enclave of Havana founded by “Godfather” Enrique Palacio and his sister Angelique, whose incestuous love bred a —monster” child dead soon after its birth. The Island now houses several eccentric extended families, including that of Cassandra-like “Barefoot Countess” Helena, her black husband Merengue, and his son Chavito, a sculptor whose imitations of familiar masterpieces litter the Island; that of retired opera singer Casta Diva, her inexplicably mute husband and troubled offspring; that of the sisters Mercedes, Marta, and Melissa, all variously deprived of normal health and sexuality; that of spinster teacher Miss Berta and her bedridden nonagenarian mother Dona Juana (a pun?)—these being only some of the principals. EstÇvez throws all together in a yeasty symbolic melodrama festooned with mysterious omens (an interminable rainstorm, a menacing stranger, a “Wounded Boy” evoking martyred St. Sebastian—while, just to complicate things, there are two characters named Sebastian) and skillfully crisscrossing plot lines whose resolutions vividly demonstrate that “Havana is the city where you comprehend, with almost maddening intensity, what it means to be ephemeral.” In addition to his creation of a moribund microcosm ripe for overthrow, EstÇvez offers an amusingly self-reflexive fiction whose engaging author mischievously involves us in his creation (“If the reader has no objection, it can be five in the afternoon”) and suggests through wry parallels (the tale of “Uncle Noel’s” ark, Mercedes’ wish that she were Dostoevsky’s Nastasia Filipovna) that his story is a composite of all earlier ones and he himself a reincarnation of Scheherazade and all the storytellers who followed her. Enticing literary gamesmanship from a remarkably accomplished new novelist.
Pub Date: Jan. 1, 1999
ISBN: 1-55970-451-9
Page Count: 336
Publisher: Arcade
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 1998
BOOK REVIEW
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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