Even more problematic than the melodrama is the sheer dullness of Silas and Lydia, a flaw that sinks what might have been a...

BITTER FRUIT

In post-apartheid South Africa, a family is bedeviled by an apartheid-era rape. Dangor’s latest (after Kafka’s Curse, 1999) was a finalist for this year’s Man Booker.

President Mandela is stepping down, and the Truth and Reconciliation Commission is issuing its report. This is a big deal, especially for Silas Ali, a lawyer and civil servant charged with fixing last-minute problems. Silas is a veteran of the anti-apartheid struggle and is also Colored (i.e., “of mixed-race”). Nineteen years earlier, his wife, Lydia, had been raped by a white cop, Du Boise, as Silas, chained, had been powerless to intervene. Lydia bore a son, Mikey, with Du Boise the father. Her marriage to Silas has endured, but the love has gone, and she cannot speak about her ordeal. As the story opens in suburban Johannesburg, Silas tells Lydia of his recent chance meeting with the rapist, and the old wound is made even more painful when she learns that Du Boise is seeking amnesty. Silas tries to comfort her, but she rejects him, turning instead to her beautiful, sensual son, and a wet kiss almost becomes something more. Mikey, who has started bedding older women, is in turmoil too. He has read his mother’s old diary and knows about the rape and his paternity, and he is about to discover further that his grandfather, a Muslim in India, executed the British officer who had raped the old man’s sister. What more motivation does a hot-blooded teenager need? Mikey steals a gun, offs the father of a girlfriend for sexually abusing her, then mows down Du Boise. His Muslim uncle will spirit him off to India. Dangor’s ragged storyline embodies also a sober, measured account of former revolutionaries adjusting to their new roles as pragmatic administrators, but it’s no match for the churning melodrama.

Even more problematic than the melodrama is the sheer dullness of Silas and Lydia, a flaw that sinks what might have been a savvy insider’s view of the new South Africa.

Pub Date: April 1, 2005

ISBN: 0-8021-7006-4

Page Count: 288

Publisher: Black Cat/Grove

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 15, 2005

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Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

THE HANDMAID'S TALE

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

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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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