One suspects that Chaudhuri emptied his filing cabinet to fill this slim volume. Nevertheless, he’s a minor master, at the...
A stylish if rather slight miscellany of 15 stories and a verse memoir, by the accomplished Indian author (A New World, 2000; Freedom Song, 1999).
The stories are set mostly in Calcutta or Bombay and frequently turn on contrasts or conflicts generated by religious (Hindu-Muslim) or linguistic (Bengali-English) differences. For example, there are several seemingly autobiographical pieces, like “Portrait of an Artist,” in which a 16-year-old poet learns poetic tradition from a melancholy English tutor; and “Four Days Before the Saturday Night Social,” about a schoolboy’s approach to “the echoing, fantastic-hued chambers of rock music.” Little happens in Chaudhuri’s otherwise exquisitely fashioned fiction: witness “The Great Game,” a vignette that employs the phenomenon of soccer combat to underscore tensions between India and Pakistan; or an exceedingly thin few pages about a housewife’s decision to write her inglorious “memoirs”; or even “An Infatuation” and “The Wedding,” of tales from India’s classical epic The Mahabharata. More substantial stories include “The Man from Khurda District,” about a struggling domestic’s ill-fated befriending of a phlegmatic bicycle thief; and especially “White Lies,” a beautifully controlled piece about the addled relations among a “guru” who gives singing lessons to wealthy matrons, a “student” who hangs on his every note, and her increasingly impatient and frustrated husband. Elsewhere, mood and tone are more important than narrative, though evidence abounds of Chaudhuri’s remarkable gift for verbal precision and nuance (e.g., old friends meeting after a 20-year separation find themselves “reminiscing about our childhood as if it were a book we’d both recently read”). The author’s fluency is particularly well-displayed in the concluding “E-Minor,” whose 25-plus pages of graceful free verse vividly evoke their narrator’s Bombay childhood, conflicted family life and varied education, experiences in England and back home in India, and accession to marriage, fatherhood, and artistic maturity.
One suspects that Chaudhuri emptied his filing cabinet to fill this slim volume. Nevertheless, he’s a minor master, at the very least.Pub Date: April 30, 2002
ISBN: 0-374-28169-6
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2002
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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