There are familiar elements in this story—the troubled brother, the eccentric aunt, a discovery that hints at a forbidden...
In her eighth novel, a coming-of-age story set in rural Pennsylvania, Quindlen (Still Life with Bread Crumbs, 2014, etc.) focuses on a young woman buffeted by upheavals in her personal life and a threat to the farmland her family has owned for generations.
Mimi Miller is 11 when we meet her, a farm girl who sells corn by the side of the road and, at night, eavesdrops on her parents’ conversations by way of a heating vent. Her mother is a nurse, strong-willed and unsentimental, her father a genial man who farms and fixes things. Mimi has two older brothers, the stalwart Edward and the wastrel Tommy, as well as an agoraphobic aunt who lives in another house on the Millers’ property. Government officials are lobbying the Millers and their neighbors to relocate so their flood-prone area can be turned into a reservoir. Meanwhile, the charming but feckless Tommy enlists in the Marines, then goes seriously astray when he returns home. Mimi, by contrast, excels at schoolwork—science in particular—and finds an ardent, if not entirely appropriate, suitor. Quindlen, a Pulitzer Prize–winning essayist and former reporter, writes with great empathy, making you care deeply about her characters. Her language is simple but true: “Sometimes there are things that you’ve rehearsed so many times, thought about so often, that when they happen it’s like they already happened a long long time ago,” Mimi says of her father’s passing. Perhaps there is a bit too much summing up in the book’s final chapter, but it still manages to be quite stirring, in an Our Town sort of way.
There are familiar elements in this story—the troubled brother, the eccentric aunt, a discovery that hints at a forbidden relationship—but they are synthesized in a fresh way in this keenly observed, quietly powerful novel.Pub Date: April 5, 2016
ISBN: 978-0-8129-9608-1
Page Count: 272
Publisher: Random House
Review Posted Online: Jan. 17, 2016
Kirkus Reviews Issue: Feb. 1, 2016
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
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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