A broad, well-crafted satire of political radicalization.
Some right-wing malcontents get in over their heads with an ocean-based secessionist movement in this debut comic novel.
North Carolina mechanic and Civil War reenactor Gage Randolph, recently unemployed, has just been paid to dig up Stonewall Jackson’s arm for a wealthy collector. Gage has the arm beside him in his Ford Bronco when he’s involved in a three-car accident. One of the other vehicles contains progressive TV host Monica Bell, who—right at the moment of impact—is conducting a call-in debate on right-winger Bill Spark’s internet radio show. The third car is piloted by Jacob Kelley, the so-called Unacrapper, on the run from the law after unsuccessfully attempting to blow up the IRS using a bomb made from his own feces (an act inspired by the same show that Monica has called in to). The two male drivers panic and kidnap the unconscious Monica, bringing her to Gage’s friend’s recently shuttered breast-themed wing restaurant. Now wanted for a whole slew of crimes, Gage and his assorted anti-government friends hatch a scheme to gain citizenship on FreedomLand, the mobile oil rig of anti-tax billionaire Zacharias Townsend. But Gage will soon learn that the conspiracy-fueled anarchic utopianism of people like Spark and Townsend may not be the best lodestar for a simple man like himself. Christopher Jackson’s prose blends madcap humor and Southern wit: “Honey, Gage dug up Stonewall Jackson’s arm and then kidnapped Monica Bell and the Unacrapper,” one of Gage’s friends tells his fiancee. “At several points during his evening, he could have opted not to commit a felony, and he blew past all of ’em.” The book skewers many recognizable figures and talking points on the American right, but the author’s characters are specific and original enough for readers to accept them as their own personalities. What’s more, he treats them and their views empathetically, exploring the motivations and emotions behind them. The author doesn’t have many answers to America’s problem of bitter partisanship, but he has provided a funny and fast-paced sendup of it for readers’ enjoyment. As things spin further and further out of control, they somehow become more cathartic.
A broad, well-crafted satire of political radicalization.Pub Date: July 1, 2021
ISBN: 978-1-09-838029-8
Page Count: 324
Publisher: BookBaby
Review Posted Online: April 17, 2021
Kirkus Reviews Issue: May 15, 2021
Review Program: Kirkus Indie
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
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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