A thoughtful, stimulating collection.
Painful choices confront Schlink’s characters in the second story collection from the German author (The Weekend, 2010, etc.).
They meet on vacation on Cape Cod. In "After the Season," the first of seven stories, Richard is a German immigrant, a flautist; Susan works for a foundation. He’s shocked to discover she’s filthy rich; Richard doesn’t like rich folks, but head-over-heels love sweeps him into a commitment to move in with her, though he’s loath to leave his gritty Manhattan neighborhood; these are his people. Richard is a plausible but not fully autonomous character in a very well-crafted story. Not quite so plausible is the protagonist of "The House in the Forest"; he too is a German immigrant, a novelist like his American wife. She’s successful, he’s not. They find an idyllic country hideaway in which to raise their little girl, away from the distractions of Manhattan; but how can the husband make their seclusion total? Credibility dissolves as his first act of vandalism propels him into madness. The most painful choice is faced by Thomas in "The Last Summer." The retired philosopher has inoperable bone cancer. Thomas will treat himself to a last summer with his family; when the pain becomes unbearable, he will take a lethal cocktail. His plan goes awry when his wife finds the bottle. Again, credibility suffers when she goes ballistic at a family gathering. Nina’s painful choice came during her youth ("The Journey to the South"). Should she leave her bourgeois family and prospective husband for the happy-go-lucky student she’s fallen for? She chose wrongly and now, a cranky old woman, is eaten up by regret. The fun story is "Stranger in the Night." The very proper Jakob is transfixed by the wild odyssey of his seatmate on a trans-Atlantic flight. Who could resist the story of a beautiful girlfriend, a swaggering sheikh, a suspicious death and five million euros? And now the stranger wants to borrow Jakob’s passport!
A thoughtful, stimulating collection.Pub Date: Aug. 14, 2012
ISBN: 978-0-307-90726-4
Page Count: 240
Publisher: Pantheon
Review Posted Online: July 21, 2012
Kirkus Reviews Issue: Aug. 1, 2012
Steinbeck is a genius and an original.
Steinbeck refuses to allow himself to be pigeonholed.
This is as completely different from Tortilla Flat and In Dubious Battle as they are from each other. Only in his complete understanding of the proletarian mentality does he sustain a connecting link though this is assuredly not a "proletarian novel." It is oddly absorbing this picture of the strange friendship between the strong man and the giant with the mind of a not-quite-bright child. Driven from job to job by the failure of the giant child to fit into the social pattern, they finally find in a ranch what they feel their chance to achieve a homely dream they have built. But once again, society defeats them. There's a simplicity, a directness, a poignancy in the story that gives it a singular power, difficult to define. Steinbeck is a genius and an original.Pub Date: Feb. 26, 1936
ISBN: 0140177396
Page Count: 83
Publisher: Covici, Friede
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Feb. 1, 1936
IN THE NEWS
SEEN & HEARD
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
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