An angry, moving, ingenious blend of fact and fiction about the early stages of the war in Vietnam. As in Motor City (1992), Morris again demonstrates a keen interest in using fiction to unravel the origins of modern American dilemmas. That debut novel dealt with the rise of corporate culture (and the automobile) in the US. This one, set largely in Vietnam in 1963, uses a series of vividly rendered characters to probe the reasons for the disastrous chain of events that left us mired in an unwinnable war. Sam Mallory, an embittered former Navy frogman, has left the service after some horrific secret missions in Vietnam. He's drawn slowly, unwillingly, but inescapably back into the war by his growing passion for Anne Sinclair, a bright, honorable young woman serving as the assistant to the director of the US Information Service. Anne, at first convinced of her country's noble intentions, uncovers secret cables and memos proving that the American military and State Department are cynically maneuvering to overthrow the corrupt Diem regime, that they are well aware of the size and vitality of the Communist forces, and that they are blithely lying to the public about the nature of American involvement. When they discover how and when the loathsome Diems will be overthrown, Sam reluctantly goes into action. Even though we know that the Diems were deposed and murdered, Sam's attempt to save them, confound American plans—and secure Anne's respect—is gripping. And Morris's portrait of a wide-open Saigon in 1963, of the conflicting plots and agendas of agents and generals, hustlers and correspondents, patriots and mercenaries (including both fictional and actual figures), is exact, acidic, and convincing. While the prose is occasionally only serviceable, Morris's version of the moment when America, out of duplicity and arrogance, became tragically enmeshed in Vietnam, is deeply moving, a persuasive vision of the greatest tragedy in our recent past. (Author tour)
Pub Date: June 1, 1997
ISBN: 0-380-97453-3
Page Count: 336
Publisher: Avon/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1997
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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