A good follow-up, written with the same clarity, simplicity, and purity of feeling that marks its predecessor.
Chandraratna continues the story begun in Mirage (see below) of a decent but naïve Saudi hospital porter whose life is ruined by his country’s religious zealots.
The earlier novel describes the hard and bitter life of Sayeed, a peasant from a small village in Saudi Arabia who left his father’s farm to find work in the capital. Like many other impoverished farmers, he settled in a shantytown on the outskirts of the city and eventually found menial work in a hospital. On a subsequent visit to his native village, Sayeed agreed to marry a young widow named Latifa, and after the marriage they moved back to the shantytown with Latifa’s daughter Leila. Chaotic, overpopulated, and neglected by the authorities, the shantytown is largely ruled by the mutawah, a religious figure who keeps order through an elaborate system of spies and informers. When Latifa is caught in the act of adultery, the mutawah sentences her and her lover to death, despite Sayeed’s pleas for clemency. After the execution he wanders into the desert in a daze and nearly dies. He is nursed back to health by Abdul Mubarek, a lab technician at his hospital who takes Leila into his home and raises her as his own. After his recovery Sayeed returns to work and tries to resume a normal life, but he is consumed with grief and blames himself for Latifa’s death, since he brought her to the city in the first place. During a visit home, he meets a childhood friend, now a terrorist, who tells him it’s his duty to avenge Latifa’s death and even gives him a dagger to carry out the deed. Back in the city Sayeed becomes more and more obsessed with vengeance and begins to stalk the mutawah through the back alleys of the shantytown. Can he redeem Latifa’s blood? Or must he appeal to a higher authority?
A good follow-up, written with the same clarity, simplicity, and purity of feeling that marks its predecessor.Pub Date: Oct. 15, 2003
ISBN: 0-75381-356-4
Page Count: 182
Publisher: Phoenix/Trafalgar
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Aug. 1, 2003
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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