No big points made here, just strong storytelling combined with thoughtful exploration of difficult issues.
A necklace with a peacock pendant raises provocative questions about loss, guilt and recovery in Waldman’s intriguing new novel (Red Hook Road, 2010, etc.).
The necklace is one of thousands of items confiscated from Hungary’s Jews and found on a train seized in Austria by the U.S. Army in 1945. Assigned to guard the train, Lt. Jack Wiseman falls in love with Ilona, a Holocaust survivor. When she leaves him for a new life in Palestine, the devastated Jack takes the necklace as a memento. In 2013, dying of pancreatic cancer, he asks his granddaughter Natalie to return it. But to whom? She learns in Budapest that the necklace was depicted in Portrait of Frau E, a lost painting by a Hungarian Jewish artist who died during World War II. Amitai, an Israeli-born specialist in the recovery of art stolen during the Holocaust, persuades Natalie to join his search for Portrait of Frau E in hopes of identifying the necklace’s rightful owner. Painting and necklace both wind up in unexpected hands, and the narrative rolls back to trace the history of “Frau E.” Her maiden name is Nina Schillinger, and in 1913 she is a 19-year-old feminist whose desire to study medicine has prompted her appalled parents to send her to a psychoanalyst. (His account of their sessions provides a wickedly funny satire of sexist, sex-obsessed Freudian analysis.) Waldman paints morally complex portraits in her three linked stories. Jack’s superiors blithely furnish their quarters with tableware and crystal from the Hungarian train; the appealing Amitai retrieves looted art for profit; Budapest’s prewar Jewish bourgeoisie places crippling constraints on its daughters. Yet all three stories also show love prompting people to transcend their limitations and behave with new compassion, though Waldman is too honest not to acknowledge that it’s not always easy to do the right thing—or even to know what that is.
No big points made here, just strong storytelling combined with thoughtful exploration of difficult issues.Pub Date: April 1, 2014
ISBN: 978-0-385-53354-6
Page Count: 368
Publisher: Knopf
Review Posted Online: March 1, 2014
Kirkus Reviews Issue: March 15, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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