From the enormously gifted Gowdy (Mister Sandman, 1997, etc.), a mesmerizing journey into the heart of Africa and a maternal society of elephants slipping rapidly into extinction. Africa’s elephants are being decimated by an unending drought and slaughtered in unprecedented numbers for their tusks and feet. Young Mud, adopted into the She-S matriarchal group after they found her nearly crushed beneath her dead mother (and named for the life-saving circumstances of her birth), is now just old enough to carry her first calf. But this ordinarily joyous occasion in an elephant’s life is destined to be otherwise when the She-S band, taking refuge in a swamp, is surprised by poachers and within a few moments nearly obliterated. The few survivors scatter in fear, then attempt to find each other while also seeking the White Bone, a mystical object that, according to elephant legend, will lead the finder to the Safe Place where drought and hunters cannot enter. Separated from her lifelong friend, Date Bed, who’s able to communicate telepathically with all creatures except humans, Mud searches for her with a few others, including Date Bed’s mother. Meanwhile, Tall Time, father of Mud’s calf, is on a lonely quest of his own for the White Bone—a quest that takes him to the land of the Lost Ones, distantly related elephants who have evolved into smaller, mountain-dwelling visionaries. Though the White Bone is eventually found, death continues to claim those seeking it, and in the end nearly everything depends on the ability of Mud and her newborn calf merely to survive. Warmly conveying a remarkably full vision of elephant life, as well as the almost incomprehensible tragedy of species annihilation, Gowdy has created an astonishingly moving saga. (First printing of 50,000; Book-of-the-Month-Club selection; author tour)
Pub Date: May 1, 1999
ISBN: 0-8050-6036-7
Page Count: 352
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1999
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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