A taxing attempt to penetrate the mind of female child molesters with grimy, mundane results.
A middle school teacher in Tampa, Fla., goes to outrageous lengths to hide her voracious sexual appetite for adolescent boys.
Nutting certainly brought dark overtones to her story collection Unclean Jobs for Women and Girls (2010), but even that auspicious debut pales next to the unclean psyche at the heart of her first novel. In a story that makes Nicholson Baker’s work look hygienic by comparison, Nutting unleashes a devious temptress whose acts of deception are as all-consuming as her incessant masturbatory frenzy. Our narrator, Celeste Price, looks absolutely harmless on the surface. She’s married to a rich suburban police officer, drives a hot car, and her looks could cause car wrecks. Unfortunately for her, Celeste is also deeply, unfixably broken. She says that the loss of her virginity at age 14 imprinted on her, and she has been working unceasingly as a student teacher to get to the mother lode: a gig as a full-time teacher of eighth-grade boys. In her first year, she obsesses over her chosen target, young Jack Patrick, on whom she ruminates in the most illustrative fashion. “Something in his chin-length blond hair, in the diminutive leanness of his chest, refined for me just what it was about the particular subset of this age group that I found entrancing,” Celeste confesses. “He was at the very last link of androgyny that puberty would permit him: undeniably male but not man.” Once she convinces Jack to give in, Celeste performs every salacious, graphic sexual act under the sun—almost as if she is committing these brazen acts on him and not with him. She even starts sleeping with her lover’s father just to cover her tracks. For decades, transgressive fiction has traditionally been grim, male and graphic. For those few voices asking why there aren’t more women working in this swamp, this one’s for you.
A taxing attempt to penetrate the mind of female child molesters with grimy, mundane results.Pub Date: July 2, 2013
ISBN: 978-0-06-228054-1
Page Count: 256
Publisher: Ecco/HarperCollins
Review Posted Online: March 10, 2013
Kirkus Reviews Issue: April 1, 2013
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
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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