A somber study of good intentions undone by money and abuse.
The lives of rich and poor intersect, often violently, in contemporary Nigeria.
Adébáyọ̀'s second novel—following Stay With Me (2017)—centers on two people on opposite ends of the financial spectrum but with similar fixations on status. Ẹniọlá is a 16-year-old student at a private school who’s at risk of expulsion due to his family’s inability to pay tuition fees. Nearby, Wúràọlá, a young doctor from a wealthy family, has just been engaged to Kúnlé, a TV news anchor whose father is running for a local governorship. Ẹniọlá is trying to cover up the shame of his father's unemployment, which gets him spat on in the street and whipped at school; Wúràọlá wants to escape from Kúnlé's escalating physical abuse of her, stoked by his jealousy of her work colleague. In person, their lives overlap only glancingly—Ẹniọlá works as an apprentice at a dress shop where Wúràọlá's mother is having a dress prepared for her 50th birthday. But Adébáyọ̀'s point is that the classes are interwoven much more deeply than surfaces suggest, that both are equally likely to be undermined by greed, and that small acts of violence become larger ones wherever you go. (The title refers to Wúràọlá's mother's bitter observation “that life was war, a series of battles with the occasional spell of good things.”) Once Adébáyọ̀ introduces a plotline involving rival politicians, the story’s trajectory becomes more predictable and moralizing (not to mention more violent). But the novel thrives in its particulars, from Ẹniọlá's struggle to maintain his dignity while openly begging on the streets, to Wúràọlá's tense relationship with her siblings and keeping up appearances. In the process she reveals how stifling—and dangerous—unthinking loyalty to tradition and family can be.
A somber study of good intentions undone by money and abuse.Pub Date: Feb. 7, 2023
ISBN: 9780525657644
Page Count: 352
Publisher: Knopf
Review Posted Online: Dec. 13, 2022
Kirkus Reviews Issue: Jan. 1, 2023
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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