Fowler (Sugar Cage, 1992) returns to the wilds of Florida in her second novel, using cleverly alternating viewpoints (evident at many section breaks) to weave the lives of three generations of women into a tender and wistful story. Sadie is a middle-aged woman who lives on the small boat that she inherited upon her mother and grandmother's deaths when she was nine years old. Her life has little direction; between tumultuous visits from her passionate Cuban lover, Carlos, she leads wealthy tourists on boating expeditions in the Florida Keys, taking advantage of their captive ears to recount the family tales once told to her by her mulatto mother and her Native American grandmother. After a bumpy start, Fowler settles into a comfortable rhythm that switches back and forth between the story of Sadie's vacillating relationship with Carlos and the stories of Sadie's forebears: tales about her grandmother Mima being kidnapped from the Oklahoma plains; about the illicit affair between Mima and Sadie's grandfather, Mr. Sammy; and about the angry silence between her mother and grandmother that ended only when her grandmother embraced her heritage. Sadie worries that her stories, rooted in imagination and mysticism as much as in memory, are tied only tenuously to reality. Where, she wonders, does history end and fabrication begin? The mummified body of a child that Sadie and Carlos find in the water after a storm prompts them to take action; the two navigate the winding rivers to St. Augustine in search of a suitable place to bury the child's body, and of a way to reconcile Sadie's future with her past. Though Sadie is unaccountably cranky, when she spins a yarn she weaves magic. And while she occasionally leaves little to a reader's own imagination, Fowler's lyrical writing and vivid, poignant portraits surmount her overstatements in this memorable book.
Pub Date: April 13, 1994
ISBN: 0-399-13912-5
Page Count: 320
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1994
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
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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