With its timely premise, clear-cut messages, and appealing female characters, this novel is bound for book-club glory.
The longtime friendship between a Black newscaster and a White woman married to a cop is tested by a tragedy.
Riley and Jen have been besties since girlhood, and as this debut novel from Pride and Piazza opens, they are both realizing their dreams. Riley is in line to be the lead anchor at the local TV station, and Jen has finally, after many tries and a loan from Riley for one last IVF procedure, gotten pregnant. But Jen's husband, Kevin, is a Philadelphia police officer, and he and his partner have just shot a 14-year-old Black boy while pursuing a suspect with a completely different description. The old friends' rock-solid connection is stretched to its limit as each is swept into her role in the tragedy, Riley as conduit for the voice of the bereaved family and one of the most visible members of the city's Black community, Jen isolated among her husband's racist relatives and terrified by Kevin's increasingly disastrous prospects. On the downside, the setup seems a bit on-the-nose, and as the plot takes on everything from microaggression to profiling to lynching, the effect is sometimes a bit preachy. "How many marches have there been? How many calls for justice? How many lawsuits? How many 'national conversations about race'?" On the other hand, this is an area where preaching and teaching can be forgiven. The most unlikely or at least unpredictable aspect of the story—a deep friendship that crosses both race and class boundaries—is the most interesting, as the women go from easily sharing jokes about Riley running on colored-people time and Jen being a trailer-trash Gwyneth Paltrow to having their connection become starkly politicized, public, and problematic. By keeping the friendship at the heart of the plot, the authors balance topical concerns with character-driven storytelling.
With its timely premise, clear-cut messages, and appealing female characters, this novel is bound for book-club glory.Pub Date: Oct. 5, 2021
ISBN: 978-1-9821-8103-1
Page Count: 336
Publisher: Atria
Review Posted Online: Aug. 31, 2021
Kirkus Reviews Issue: Sept. 15, 2021
BOOK REVIEW
SEEN & HEARD
I Who Have Never Known Men ($22.00; May 1997; 224 pp.; 1-888363-43-6): In this futuristic fantasy (which is immediately reminiscent of Margaret Atwood's The Handmaid's Tale), the nameless narrator passes from her adolescent captivity among women who are kept in underground cages following some unspecified global catastrophe, to a life as, apparently, the last woman on earth. The material is stretched thin, but Harpman's eye for detail and command of tone (effectively translated from the French original) give powerful credibility to her portrayal of a human tabula rasa gradually acquiring a fragmentary comprehension of the phenomena of life and loving, and a moving plangency to her muted cri de coeur (``I am the sterile offspring of a race about which I know nothing, not even whether it has become extinct'').
Pub Date: May 1, 1997
ISBN: 1-888363-43-6
Page Count: 224
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1997
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
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