The author’s depiction of the culture’s racial dynamic will surely cause a stir.
A provocative, illuminating novel that imagines the inner life and explores the cultural legacy of Bert Williams, the first popular black stage performer of America’s early 20th century.
Born in the West Indies, Williams delighted white audiences and embarrassed his family and associates by playing the bumbling, slow-witted “coon” or “nigger,” corking his visage in blackface. He considered this stereotype a peculiarly American phenomenon, unknown in his homeland. Was he the artistic creator of his role, or was he the prisoner of it? Williams claimed that the caricature should not offend since it had no basis in reality, but it plainly reinforced a popular prejudice, one that put strict limitations on acceptable roles for a performer of his color. West India–born novelist and cultural critic Phillips (A Distant Shore, 2003, etc.) employs Williams to explore themes of racial identity and the twisted relationship between black artists and white audiences. Though generally avoiding polemic, the novel’s implications extend from the minstrelsy of a hundred years ago to the marketing of today’s hip-hop and gangsta rap. While interspersing snippets from stage productions and newspaper accounts, the novelist takes considerable creative license in fictionalizing the reflections of the comic entertainer, a man of sad dignity and ambiguous sexuality who keeps the various parts of his life compartmentalized. Structured into three acts, the novel traces the rise and fall of the team of Williams and the more assertively political George Walker, whose partnership formed the first all-black company to achieve success on Broadway, a triumph both enhanced and undermined by Bert’s ability to play the fool. In rescuing Williams’s reputation from obscurity, Phillips gives his leading man a tragic dimension. As times were changing—from Harlem’s transformation into a nightlife mecca to the heavyweight championship of Jack Johnson to the assertive activism of W.E.B. Dubois—Williams couldn’t change with them.
The author’s depiction of the culture’s racial dynamic will surely cause a stir.Pub Date: Sept. 18, 2005
ISBN: 1-4000-4396-4
Page Count: 224
Publisher: Knopf
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: June 15, 2005
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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