Re-creates the particular frustration, tedium, and fear of 2020 and 2021 with depressing verisimilitude.
A British classics professor intersperses her lockdown diary with a taxonomy of ancient systems of prophecy.
The unnamed narrator of Pollard’s debut novel titles each of her short chapters with a method of foretelling the future, starting with “Theomancy: Prophecy by Foretelling Events” and ending with “Dactylomancy: Prophecy by Means of Finger Movements.” Upon a random check, even the kookier-sounding ones—“Urticariaomancy: Prophecy by Itches,” “Ololygmancy: Prophecy by the Howling of Dogs”—are authentic. The entries narrate experiences and emotions familiar from our recent collective experiment in uncertainty, from home schooling to craft cocktails to Zoom exhaustion and news addiction. In fact, except for some slight variations since the book is set in the U.K., it all feels so familiar and real that it has the feeling of a time capsule that’s been opened many years too soon—though Pollard, the author of six books of poetry, is at pains to bookend her narrative with assurances that it is fictional. The narrator teaches a screenful of students with their cameras off, deals with her 10-year-old son's increasing dependence on screens even as she follows on her own screen the unfolding nightmares of Sarah Everard (a young woman who was murdered in London) and Donald Trump. She tries an I Ching app, visits an online psychic, does tarot readings. She keeps getting the family happiness card even as her husband steps up his drinking and the marriage frays. Finally she decides to jump the fence and go for a walk only to run into an acquaintance who complains about her au pair, leading her to rush home in horror. “I haven’t missed small talk” is one of many wry, relatable moments—but these might be funnier later on. Here and there, big plot elements drop in like stones, with little buildup or aftermath, including a last-minute bit of terrifying melodrama with mythic overtones.
Re-creates the particular frustration, tedium, and fear of 2020 and 2021 with depressing verisimilitude.Pub Date: Aug. 2, 2022
ISBN: 9781982197896
Page Count: 208
Publisher: Avid Reader Press
Review Posted Online: May 10, 2022
Kirkus Reviews Issue: June 1, 2022
BOOK REVIEW
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
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
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