Richly textured and artfully told through the varied perspectives of believable characters.
Poet and novelist Divakaruni (The Conch Bearer, 2003, etc.) stirs up a tasty curry that’s half-mystery, half-fantasy in a clever tale of a young woman trying to sort out the mystery of her mother’s death—and life.
Having a clairvoyant mother can be a pain, but not always. Berkeley artist Rakhi Gupta is going through all the usual thirtysomething traumas of family and career—her first gallery exhibition is due to open soon, her coffeehouse is being undersold by a Starbucks-like competitor, her loathsome ex-husband is constantly dropping in to see their daughter—and she’s getting desperate enough to do the worst thing a grown girl can do: turn to her mother for help. Mrs. Gupta is an India-born “dream reader” who has developed a select following in California for her ability to interpret her clients’ nocturnal fantasies (“A dream of milk means you are about to fall ill”). Rakhi wants to sound her out on a few worries of her own, but before she has the chance her mother is killed in a car accident. Rakhi’s father, who survives the crash, tells her that just before the accident her mother seemed to be pursuing someone in a mysterious black car. Creepy enough—and now Rakhi’s six-year-old daughter Jona is becoming more and more insistent that her imaginary friend Elaina isn’t imaginary at all. A childhood fantasy—or a more complicated grown-up one? Somehow, Rakhi feels that the answers lie in her mother’s dream notebooks, which her father has agreed to translate for her. As a record of the hidden world of her clients and herself, Mrs. Gupta’s notebooks unlocked the door to many mysteries during her lifetime. Perhaps they’ll do so once more now that she is dead.
Richly textured and artfully told through the varied perspectives of believable characters.Pub Date: Sept. 14, 2004
ISBN: 0-385-50682-1
Page Count: 352
Publisher: Doubleday
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: July 15, 2004
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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