Humor can’t quite save this appealing novel that ends before it’s fully begun.
An ambitious literary debut about an Israeli family and its oddball members.
When Guy Gever starts taking branches and sticks, arranging them in bizarre configurations around his home or in the midst of a field, and calling the result “art,” his wife’s family, the Solomons, is concerned. Yakov Solomon, the family patriarch, is especially concerned. Yakov has financially supported each of his children well into adulthood, and it looks like his duties still aren’t over. “When my children want money, they come to me,” he says. “I’ve paid for six weddings, five divorces, the funeral of one daughter-in-law’s father, and countless birthday celebrations. Now I must pay for Guy Gever’s madness?” Ball’s debut novel examines the lives of each of the Solomons—Guy Gever and Yakov, yes, but also Marc Solomon, Yakov’s youngest son, who moves to LA from their cloistered kibbutz, marries, has children, and is then accused of money laundering; and Marc’s sister, Shira, an aging actress who takes off for LA while her young son stays home alone; and there is Dror, another brother, and Vivienne, their mother, and also Maya, Marc’s childhood girlfriend. In short, there are a lot of characters—perhaps too many—and each chapter picks up a new point of view. Those chapters jump around in time, too, so the complexities of certain relationships aren’t made clear until the end. Ball’s prose is compulsively readable, almost addictive, and she has a wicked sense of humor. But the novel doesn’t quite add up: by the time you’ve met all the characters, the book is already ending, and nothing seems to have been resolved.
Humor can’t quite save this appealing novel that ends before it’s fully begun.Pub Date: April 4, 2017
ISBN: 978-0-8021-2457-9
Page Count: 256
Publisher: Atlantic Monthly
Review Posted Online: Jan. 22, 2017
Kirkus Reviews Issue: Feb. 1, 2017
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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