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
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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