Tar-black comedy and psychosexual gamesmanship—both make for an enthralling and ultimately sobering debut.
First-novelist Coote turns Nabokov on his head in this tale of an Aussie Lolita who sets her sights on a witless teacher who thinks he’s falling in love with her.
In her dreamy, epistolary narrative, a nameless and decidedly precocious 16-year-old seductress decides she must have her 34-year-old teacher at any cost. It isn’t long before she’s cajoled her way into his bed; not long after that, he loses his job, she runs away from her aunt and uncle’s house, and the two of them are cohabitating. Describing what the narrator does as “seduction,” however, is almost a misnomer, since sexual pleasure just about never enters into her head. Early in the book, she kills time compulsively sketching other girls in her class, usually contorted into painful, sexually degrading positions. It doesn’t seem to give her any sexual gratification; she simply likes the feeling of power. To ward off any readers who might be wondering what deep, Freudian secrets lie in the tangled recesses of her mind, the protagonist makes this categorical declaration: “It was my personal evil . . . wasn’t young and malleable and suffering from an overdose of Hannibal the Cannibal. I wasn’t a victim of child sexual abuse. I didn’t grow up in a civil war zone.” The 25-year-old author, who apparently wrote Innocents when she was only 19, excels at describing the infinite small ways in which the girl manipulates every aspect of her life with the teacher to maintain his sexual attraction to her. If he’s not looking at her with utter lust every second of the day, then a new trick must be devised—fast. Coote deserves acclaim not just for the narrator’s remarkably compelling voice but for so ruthlessly limning her deepening psychosis. Without falling back on dime-store psychology, she does not forget for a moment that true dementia lurks in the girl’s behavior.
Tar-black comedy and psychosexual gamesmanship—both make for an enthralling and ultimately sobering debut.Pub Date: Sept. 1, 2002
ISBN: 0-8021-3927-2
Page Count: 256
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2002
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
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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