Likable, yet a disappointment: an awkward story that seems patched together from spare bits of the previous trilogy.
Prequel to O’Carroll’s Agnes Browne trilogy (The Granny, 200, etc.).
Agnes Browne was the plucky Dublin housewife who became a widow in the early 1960s and raised her six children through hard work, good luck, and loyal friends. But widowhood came late in her life, and O’Carroll now takes us farther back to show us the unusual family Agnes came from—on her mother Connie’s side at least. Connie Parker-Wills was the daughter of a wealthy Protestant industrialist who ran the iron foundry where Agnes’s father Bosco Reddin worked. But when Connie fell in love with Bosco and announced her intention to marry him, she was briskly disinherited and thrown out of the Parker-Wills home. She and Bosco lived happily in tightened circumstances with Agnes and their second daughter Dolly until Bosco (a labor organizer) was killed in a riot during a strike. Agnes then took on the responsibilities of looking after her increasingly feebleminded mother and rather wild sister (eventually sent to juvenile detention for shoplifting). She was supported through all of this by her classmate and best friend Marion Delaney, who helps Agnes open a produce stall in the Moore Street market and encourages Dolly to emigrate to Canada and get a new start. The best thing that happens to Agnes is meeting Redser Browne, a cheerful, handsome scamp of a man who loves her almost as much as he loves gambling and drink. Hopeless as a provider, Redser is still devoted, warmhearted, and charming—and soon he and Agnes are arranging a wedding (with Agnes several months pregnant). Connie Reddin’s one desire is to see Agnes married in the same bridal dress that she and her mother wore, but priests in the 1950s were strict about who could wear white. Can Agnes charm her way?
Likable, yet a disappointment: an awkward story that seems patched together from spare bits of the previous trilogy.Pub Date: March 1, 2003
ISBN: 0-670-03114-3
Page Count: 224
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2003
BOOK REVIEW
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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