Contrived, to put it mildly, but an unsettling portrait of the way extreme physical beauty or ugliness distort people’s...
Another surreal, dark comedy from Filipacchi (Love Creeps, 2005, etc.).
Costume designer Barb is so gorgeous her friend Gabriel kills himself for unrequited love of her, after which she dresses in a fat suit, gray wig and false teeth so no one else will be harmed by her looks and she can find a man who loves the inner Barb. Brilliantly gifted composer Lily is so plain that shallow Strad doesn’t even notice her adoration. Both women get together once or twice a week for a Night of Creation with successful novelist Georgia, untalented potter Penelope, and Jack, the former cop who rescued Penelope when she was kidnapped six years earlier. The atmosphere is rarefied verging on pretentious, an impression reinforced by the affected tone of the narration and the highly improbable arrival of two posthumous letters from Gabriel revealing that one of the five told him that he or she would kill Strad on a particular date if he hadn’t fallen in love with Lily by then. Among the other elements in an exceedingly busy plot: Anchorman Peter Marrick maneuvers to meet Barb after learning about her ugly disguise when he finds the laptop Georgia left in a taxi. Lily acquires the ability to make things beautiful by composing music about them, which of course she eventually uses to transform herself for Strad. And a bizarrely rude doorman makes multiple appearances that are finally justified by the violent climax that rebeautifies Barb and brings Lily destruction followed by the media’s remorseful reappraisal of the premium placed on good looks. The novel is more than a little over-the-top, and the characters have more attitude than personality. Still, there’s something weirdly compelling about the whole excessive parade, and most people will keep reading just to find out how all the elaborate manipulations turn out.
Contrived, to put it mildly, but an unsettling portrait of the way extreme physical beauty or ugliness distort people’s impressions.Pub Date: Feb. 16, 2015
ISBN: 978-0-393-24387-1
Page Count: 288
Publisher: Norton
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
PROFILES
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
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
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