Poetic flights and jests meld uneasily with didacticism in this ambitious, uneven fantasy.
An episodic, magical-realist parable set in Bombay.
Form is at least a partial substitute for content in Irani’s debut. The storyline traces the unnamed narrator’s quest to understand how he came to lose his arm, but it’s a modern dreamscape, with strands of narrative coherence strewn across stretches of semi-opaque hallucination. Before becoming “a novice cripple,” the central figure lived a privileged life in an apartment by the sea. He drank whiskey, slept with prostitutes—in particular Malaika, whom he claimed to love—never prayed or worked. But since waking up two months ago minus one arm, he has become a lost soul, relocated to a sinking apartment block and driven to seeking direction from misfits and underdogs on the streets. A floating beggar, a woman selling rainbows, and a leper who gives him a finger are among the many characters who offer advice; several mention one Baba Rakhu. The actual and metaphorical journey moves through time as well as space, always with heavy nudges toward atonement. “You need to earn your arm back,” says Baba Rakhu when finally unearthed in his “pet dungeon,” a repository of severed limbs taken from the unworthy (wife-beaters, for example). Persistent flashbacks to schooldays feature rivalry with a clever boy named Viren, whom the narrator first nearly blinded, then maimed by feeding his hand into a machine. He seeks out Viren, now a successful novelist, and finds he has not been forgiven. Looking next for Malaika, the narrator reveals he beat her up a year ago; soon he learns that she died the next day. Connections among the central figure’s justified self-loathing, random viciousness and recent amputation finally fall into place, and he returns to Baba Rakhu to accept the sacrifice of his arm as a means of rejecting his old self.
Poetic flights and jests meld uneasily with didacticism in this ambitious, uneven fantasy.Pub Date: May 6, 2005
ISBN: 1-56512-456-1
Page Count: 256
Publisher: Algonquin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2005
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
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
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