Although too long and overly slavish to the record, this multifaceted portrait rescues its heroine from undeserved obscurity.
The glamorous and fraught life of a Russian aristocrat who survives war, revolution, and several difficult relationships.
This massive novel, based on the life of a real woman, represents a huge amount of research by Lapierre (Between Love and Honor, 2012, etc.), as recorded in her substantial bibliography. Maria Ignatievna Benckendorff nee Zakrevskaya, known as Moura, is precociously intellectual, a young doyenne of imperial Russian society. When she marries her first husband, Ivan “Djon” Benckendorff, a Russian Estonian nobleman, she follows him to Berlin, where she becomes the belle of the czar’s diplomatic corps. Then, after the Great War and the Bolshevik Revolution, the glittering world Moura knew lies in ruins. She manages to survive by her prodigious wits, her fluency in several languages, and her appeal to men. Scrabbling in Saint Petersberg, Moura is separated from her children, who are consigned to what’s left of Djon’s Estonian estate after his assassination. Among her conquests are Robert Lockhart, a British agent implicated in a plot against Lenin; Maxim Gorky, the writer who narrowly escaped several purges; and H.G. Wells. The novel has all the earmarks of an exhaustive biography, with quotations from original sources—correspondence, diaries, and press clippings—often taking over the narration. The real Moura kept much close to the vest, including the details of an ordeal in a Bolshevik prison. Lapierre respects Moura’s privacy by not imagining the experience—but shouldn’t fiction free an author from such scruples? Likewise, on the “hypothetical” question of whether Moura was a Soviet spy, a British spy, or both, Lapierre lets the truth interfere with a good story—fictional Moura never acknowledges, not even to herself, that she’s an informant. Nevertheless, as history brought to life through the eyes of one woman whose fortunes took her through two wars and tumultuous regime changes, this account is engrossing, especially as to the particulars of existence in a paranoid, post-revolutionary state with a bureaucratic machine as deadly as it is dysfunctional.
Although too long and overly slavish to the record, this multifaceted portrait rescues its heroine from undeserved obscurity.Pub Date: March 31, 2020
ISBN: 978-1-5011-9791-8
Page Count: 640
Publisher: Atria
Review Posted Online: Jan. 12, 2020
Kirkus Reviews Issue: Feb. 1, 2020
BOOK REVIEW
BOOK REVIEW
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
© Copyright 2025 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.
