Nicely done, and just the thing for the History Channel addict of the house.
History is littered with examples of people doing bad things in order to land rare and exquisite prizes. And so is this funny, quirky tale that plays pleasing what-if games with the past.
Dock Bass has a Jimmy Buffett soul: Canadian author Smith (All Hat, 2003) lets us know early on that Dock would rather fish, play cards, and drink beer than do anything else, including deal with his socially ambitious wife and make the fat living she now seems to require. When a mysterious letter comes from a lawyer down Gettysburg way, Dock is glad to get gone—and gladder still to find that he’s inherited a little farm from a relative he scarcely knew he had. There’s work to be done on the place, but enough little rewards turn up in odd corners to keep Dock at the task: glass-plate negatives that may contain images of Lincoln at Gettysburg to add to the single photograph known to exist, a first edition of Notes on the State of Virginia, manuscripts, old tools. And then he finds the big one. Enter lawyers, reporters, treasure hunters, fortune-sniffers, and assorted hangers-on, until Dock’s back to his former karma-pecked self: “For a man who had, just a month earlier, driven off into the sunset with the sole purpose of uncomplicating his life, Dock Bass had somehow succeeded in accomplishing just the opposite.” Some of the characters in Smith’s roller-coaster narrative verge on caricature, but others—like young, beautiful Amy Morris, an ambitious TV reporter—become nicely complicated as the story unfolds and shaggy dogs shed their fleas. Smith takes his leisure in crafting smart exchanges: “Anyone with a brain would have taken that step,” one of Dock’s pursuers mutters. “I suspect this fellow is the dimmest of bulbs. Violent types usually are.” But Dock is smarter than he seems: so we learn as Smith’s story meanders amiably toward its satisfying payoff.
Nicely done, and just the thing for the History Channel addict of the house.Pub Date: Feb. 7, 2005
ISBN: 0-8050-7650-6
Page Count: 320
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2005
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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