An often depressing, cautionary and thoroughly excellent tale of the excesses of empire, ambition and the too easily...
National Book Award—winning novelist Shacochis (The Immaculate Invasion, 1999, etc.) makes a long-awaited—indeed, much-anticipated—return to fiction with this stunning novel of love, innocence and honor lost.
The wait was worth it, for Shacochis has delivered a work that in its discomfiting moral complexity and philosophical density belongs alongside Joseph Conrad and Graham Greene. Tom Harrington is a humanitarian lawyer whose path takes him into difficult country: Haiti in the wake of dictatorship and storm, for one. He is unsettled and lonely, even as his stateside wife is one of those blessedly ignorant Americans who “pray for the deafness that comes with a comfortable life”—a comfortable life that would be much more attainable were Tom someone who cared about money. He is not saintly, though. Into his orbit has come a fetching, utterly mysterious journalist whom Tom has met more than once along the trail of good deeds done by sometimes not so good people. Her murder sends him reeling into a long, arcing story of discovery that becomes ever more tangled as Shacochis spins it, taking it across decades and oceans. Among the players are a tough-as-nails Delta Force combatant who surely knows that he’s being played as a pawn by the likes of an unlikable senior spook who lives for opera, cocktails and deception; even so, the soldier takes pride in his role in what he calls “Jihadi pest control,” just as the spy takes pride in what he did in all those dark corners during the Cold War. These characters are bound to one another, and to Jackie, by blood or elective affinities. Either way, Shacochis would seem to suggest, their real business is to hide themselves from the world, while the business of the world is to help them disguise their subterfuge. Everything in the landscape is secret and forbidden, potentially fatal, doomed to fail—and yet everyone persists, presses on, with what they believe their missions to be. Shacochis is a master of characterization; his story, though very long, moves like a fast-flowing river, and it is memorably, smartly written: “ ‘Cleopatra spoke nine languages,’ Jackie informed him with a distinctly peevish rise to her voice for what she obviously considered a set series of infinitely tiresome challenges to the perception of her specialness, the unfair excesses of her drop-dead good looks or intellect or courage or God knows, her very birth, as if she had somehow stolen those laudable parts of herself from someone else, an imaginary deprived person.”
An often depressing, cautionary and thoroughly excellent tale of the excesses of empire, ambition and the too easily fragmented human soul.Pub Date: Sept. 3, 2013
ISBN: 978-0-8021-1982-7
Page Count: 640
Publisher: Atlantic Monthly
Review Posted Online: July 18, 2013
Kirkus Reviews Issue: Aug. 1, 2013
PROFILES
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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