This Rumble is a spectacle not to be missed. You’ll want a ringside seat.
The theme of masculinity and its discontents is the organizing principle of this terrific debut collection of nine tough-as-nails stories by a former collegiate boxer.
Understatement is Cavell’s game, and in its best moments his spare, confrontational prose reminds us of the young Hemingway. The volume gets off to a soaring start with “Balls, Balls, Balls,” a monologue spoken by a sporting-goods salesman and insecure macho man who bulks up his ego with fantasies of lethal violence, while considering self-improvement via Rogaine, pep pills, and penile enhancement. A similar voice is heard in “All the Nights of the World,” whose young narrator reluctantly endures a dinner date with his charismatic father (a former pro footballer) and his overly impressed girlfriend, and in the tense “Highway,” a deft anecdote set in a roadside diner where two fugitive murderers outwit a tired cop and wonder whether to add an ingenuous waitress to their kill. Cavell scores strongly with two stories about boxing: “Killing Time,” a nondescript sparring partner’s jaundiced view of his fighter’s cock-of-the-walk celebrity; and “The Ropes,” a moving portrayal of a brain-damaged young amateur (“the kid who almost got killed at the Golden Gloves”) trying and failing to feel his way back toward something approximating normal life. Even better are two blackly funny satires on embattled machismo. “The Death of Cool” features a paranoid insurance-claims investigator’s account of the many dangers lurking in the everyday, and the bizarre protective measures he takes. And the dazzling novella “Evolution” records its phlegmatic narrator’s progress toward becoming a contract killer. It’s a truly original tale, filled with characters animated by insane theories about human interaction and the survival of the fittest: they’re Darwinian survivalists, insulated with extra layers of attitude—as mordantly funny as they are casually inhuman.
This Rumble is a spectacle not to be missed. You’ll want a ringside seat.Pub Date: May 27, 2003
ISBN: 0-375-41464-9
Page Count: 208
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2003
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
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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