Vividly conveys the survivor’s emotions of shame, rage, and fear but also offers—slowly, tentatively—hope for healing.
Based on the author’s personal experiences, this debut novel traces in harrowing detail the emotional odyssey of a girl who is raped at age 9.
It’s hard to say if this riveting text is a novel in the strictest sense of the word, but the power of the material makes that a minor quibble. Bon captures from the first pages the eerie distancing experienced by a victim of sexual violence. In the aftermath of the assault in the stairwell of her family’s Paris apartment building, weeping Adélaïde can only nod or shake her head as her concerned parents question her. “She's not really there anymore,” a sensation that continues in the police station where she is taken to file a criminal complaint. In the decades that follow, she tries to numb herself with binge-eating, frantic masturbation, alcohol and drugs, but the terrifying, half-submerged memories she calls “jellyfish” won’t leave her alone. Years of psychotherapy help some, but too often in the midst of sessions she finds herself “small and lost and frozen, standing in the middle of a vast white expanse, waiting. She calls this place, my little girl on the ice floe.” The sense of alienation from her own life is made palpable in the interplay throughout the novel between a third-person account of events and the occasional incursion of anguished first-person outbursts. In 2012, when Adélaïde is pregnant with her first child, she learns that a petty thief has been identified from a DNA sample as the serial rapist of dozens, probably hundreds of children over a period of 20 years. The prospect of testifying at his trial finally unlocks Adélaïde’s recollection of the worst moment in her rape, followed by a cogent neurological explanation of why it can take the survivors of violent crimes many years to remember the details of their abuse. The conclusion shows justice only partially served in a society that, in the author’s persuasive depiction, remains sexist and inclined to blame women.
Vividly conveys the survivor’s emotions of shame, rage, and fear but also offers—slowly, tentatively—hope for healing.Pub Date: March 19, 2019
ISBN: 978-1-60945-515-6
Page Count: 224
Publisher: Europa Editions
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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