Vivid style and strong characters add credibility to an equally melodramatic follow-up.
Sugar Lacey’s melodrama continues in a sequel to the bestselling McFadden’s debut novel (Sugar, 2000).
Born out of wedlock and raised by Sara and May, two sisters who run a brothel in small-town Arkansas, Sugar returns one freezing winter night nearly dead, her belly sliced open. The stalwart sisters stitch her up without asking too many questions, but Sara, troubled by conscience, finally reveals what she knows about Sugar’s parents. Bertie Mae Brown was a shy young woman in love with Joe Taylor, an itinerant railroad worker. Their love triggered inexplicable jealousy in Shonuff Clayton, a handsome, dangerously unstable man who also happened to be Sara’s lover. What Sara doesn’t reveal: She was the one who collected a few strands of Bertie’s beautiful hair and Joe’s sweaty handkerchief for Shonuff, who then paid an obeah woman to put a curse on Bertie and Joe and all their descendants. Bertie gave birth to Sugar after Joe moved away and married Pearl Taylor. But Joe couldn’t escape the curse: his daughter Jude was murdered. Only Sugar knew who did it—and she kept her mouth shut. Although Sara and May die of natural causes during her stay with them, Sugar is nonetheless suspected of causing their deaths and decamps once more. Ten years later, in St. Louis, she finds her old friend Mary Bedford emaciated and near death, her decrepit house turned into a shooting gallery for neighborhood junkies. She ties up Mary’s addicted granddaughter Mercy in the garret of the New Hope African Methodist Church and bottle-feeds her with broth until the girl is over the worst of heroin withdrawal. They can’t stay at the church forever, however, so Sugar and Mercy return to Bigelow, hoping for help from their kinfolk. Here, the somewhat incoherent plot quickly ends: the man who murdered Jude Taylor and attacked Sara is back in town—and more than one person wants him dead.
Vivid style and strong characters add credibility to an equally melodramatic follow-up.Pub Date: Feb. 1, 2001
ISBN: 0-525-94636-5
Page Count: 288
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2001
BOOK REVIEW
BOOK REVIEW
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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