Well-drawn characters and a topical theme make this a lively read.
Roorbach (Summers with Juliet, 1992, etc.) effectively juggles a number of themes in a slyly composed whodunit that’s also a paean to burying the bones of the past.
Superficially, Coop Henry has an enviable life. A former Olympic bronze medalist, he now coaches the US ski team and seems happily married to the formidable Madeline. But Coop is haunted by the events of 1969, the year his older brother Hodge died. Compounding his grief is his inability to openly mourn; Coop has spent the last 30 years claiming that Hodge is still alive and living underground as a fugitive. His deception, and the reasons for it, may soon be uncovered, as Coop’s parents have hired wily p.i. Tad Czako in a last-ditch effort to find their favorite son. With the imminent revelation of his secret, memories encroach upon the present to leave Coop contemplating a life built on his brother’s death. He begins an affair with Roddy, a skier who’s already engaged, he assaults clerks at a hardware store and temporarily lands in a mental-health facility, and he very may well lose his coaching position. As his life crumbles, he’s transported back to that fateful summer when he searched for his brother, already involved in terrorist activities. Here Roorbach builds an engaging portrait of the ’60s, its free-love and drug experiments, the naïve innocence of some and the restless violence of others. Coop’s on-the-road adventure leads him to Tricia, a Montana cowgirl and brilliant poet, and soon the two are in Chicago, where they find Hodge and his co-conspirators. The bombing of a Boeing plant in Seattle lands the teenage revolutionaries in a mountain retreat awaiting capture. Roorbach’s quasi-mystery (what really happened to Hodge?) works well as a device in explicating Coop’s current life choices, creating a fast-paced portrait of the fate of ’60s radicalism.
Well-drawn characters and a topical theme make this a lively read.Pub Date: Oct. 31, 2001
ISBN: 1-58243-152-3
Page Count: 336
Publisher: Counterpoint
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2001
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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