With some echoes of Kafka and Vonnegut, this novel looks for the soul of the 21st century and finds an abyss.
Global consumerism is a nightmare from which one nuclear family is trying to awaken.
This novel was published in Blatnik's (Law of Desire, 2014, etc.) native Slovenia in 2008, making it all the more remarkable how timely, even prescient, it seems now. On the surface, it’s a love story, beginning and ending with the same note from a husband to his wife, the wife he is leaving with their two sons, without warning. “It’s here now, this story, all of it,” he writes. “It’s here to say: I love you.” Though perhaps he has been warning her all along, perhaps the whole novel is a cautionary tale, one in which nothing is as simple as it seems, and the very notions of identity, character, free will, and choice are up for grabs. A passage referring to one character will end one chapter, and then the same passage will begin the next chapter, referring to the other, the husband and then the wife, or vice versa. (“Something had changed. Everything would have to be reorganized. It wasn’t too late.”) The man has not only walked away from his family, but from his computers, which he had once used as a musical mixer and later as a genius advertising sloganeer, “the boy wonder of his generation,” who, according to his wife, was “so efficiently helping to maintain the smooth running of the conveyor belt of goods fetishism and consumerism.” It was he who had come up with the “brand name for the toothpaste, DissiDent.” Yet he has apparently come to revile the values that he long worked to promote, and so he has taken off while leaving his family well provided for. His wife finds herself torn between her professional obligations, running a firm that involves occupational retraining for this new globalism, and her personal fears and desires. Her life is also transformed by her husband’s decision to transform his. By the end of the story, which ends where it began, little has changed and everything has changed.
With some echoes of Kafka and Vonnegut, this novel looks for the soul of the 21st century and finds an abyss.Pub Date: Sept. 26, 2019
ISBN: 978-1-62897-336-5
Page Count: 194
Publisher: Dalkey Archive
Review Posted Online: June 30, 2019
Kirkus Reviews Issue: July 15, 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
Too much drama at the end detracts from a finely wrought and subtle conundrum.
Ware (In A Dark, Dark Wood, 2015) offers up a classic “paranoid woman” story with a modern twist in this tense, claustrophobic mystery.
Days before departing on a luxury cruise for work, travel journalist Lo Blacklock is the victim of a break-in. Though unharmed, she ends up locked in her own room for several hours before escaping; as a result, she is unable to sleep. By the time she comes onboard the Aurora, Lo is suffering from severe sleep deprivation and possibly even PTSD, so when she hears a big splash from the cabin next door in the middle of the night, “the kind of splash made by a body hitting water,” she can’t prove to security that anything violent has actually occurred. To make matters stranger, there's no record of any passenger traveling in the cabin next to Lo’s, even though Lo herself saw a woman there and even borrowed makeup from her before the first night’s dinner party. Reeling from her own trauma, and faced with proof that she may have been hallucinating, Lo continues to investigate, aided by her ex-boyfriend Ben (who's also writing about the cruise), fighting desperately to find any shred of evidence that she may be right. The cast of characters, their conversations, and the luxurious but confining setting all echo classic Agatha Christie; in fact, the structure of the mystery itself is an old one: a woman insists murder has occurred, everyone else says she’s crazy. But Lo is no wallflower; she is a strong and determined modern heroine who refuses to doubt the evidence of her own instincts. Despite this successful formula, and a whole lot of slowly unraveling tension, the end is somehow unsatisfying. And the newspaper and social media inserts add little depth.
Too much drama at the end detracts from a finely wrought and subtle conundrum.Pub Date: July 19, 2016
ISBN: 978-1-5011-3293-3
Page Count: 352
Publisher: Scout Press/Simon & Schuster
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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