High-toned escape with palatable preaching and beautiful scenery.
Ghosts of the Spanish settlers and lingering effects of the Manhattan Project pleasantly spook the atmosphere in a New Mexican family drama.
The landscape is purple and tan, the humidity low, the manors adobe, but the family dynamics are as realistically complex and, well, cozy as one of those nice Aga sagas that the Brits ship over by the ton. Morrow (Giovanni’s Gift, 1997, etc.) sets the ghost of Dona Francisca de Pena, free-spirited 18th-century descendent of the Conquistadors, floating (but not meddling) around the family acres in greater Santa Fe, where, gradually fading, she observes the lives of her own offspring, the Montoyas, and is herself occasionally sighted. The Montoyas are mostly unpretentious ranchers, horse people whose common sense is badly needed by the Anglos who wander into their pastures. Most of the needy non-grandees have connections to the Ur-techies who came in the ’40s to test the limits of atomic theory. Kip Calder and Brice McCarthy had physicist fathers and shared a Los Alamos boyhood and friendship that soured in the ’60s when Kip skipped out on his pregnant girlfriend, who wound up marrying Brice. Kip went to Southeast Asia and became a spook; Brice went to law school and became a liberal cliché. Now Kip, dying from cancer, has returned, and Ariel Rankin, his abandoned daughter, herself pregnant from a broken affair, has at last responded to feelers Kip put out at a reunion with Brice three years earlier. Kip, nursed from near-death at Sarah Montoya’s nursing home, has become part of the family, but when Ariel reaches New Mexico and picks up her father’s trail, he has disappeared on a last adventure with plucky widower Delfino Montoya to reclaim the ranch the feds snatched for their proving ground. Subplots abound, including an actress trapped in a character she created, until everything knits up as tidy as Twelfth Night.
High-toned escape with palatable preaching and beautiful scenery.Pub Date: June 3, 2002
ISBN: 0-670-03095-3
Page Count: 384
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2002
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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