Through every sad, ugly twist of this story, you feel yourself wanting to turn away, but you can’t.
A debut novel with red herrings steeped in mind-numbing heat and bone-chilling darkness deep in the modern American prairie.
Prisons are the major industry in Leavenworth, Kansas, and business is booming in the summer of 1988—even if maintaining those prisons apparently means the city can’t afford to build a new public library. Meanwhile, there’s an escaped prisoner on the loose—a fact that two young boys, sons of a local policeman, are trying hard to ignore as they live from one hot day to the next, swimming and diving in the pool at their divorced mom’s apartment complex. Yet the brothers invent a name for the escapee, “The Stranger,” and he becomes part of the fantasy world they invent to escape a dreary reality comprising a father who's less than sure of his own law enforcing capabilities either at home or on the streets and a mother haplessly engaged in a romance with a sleazy ex-con who works at the same golf course pro shop she does. Prominent among the other bigger people in the brothers’ lives is Chris, who one days materializes at the pool; for all his amiable coaching of the boys’ diving techniques, he seems as enigmatic to the younger brother as he is engaging to the older one. As the summer drags on (and as, intermittently, the novel does), the humid atmosphere around the brothers’ world becomes freighted with ominous portents: the search for “The Stranger” stalls, the threat of tornadoes increases, both parents become more depressed, and the older brother becomes more violent and temperamental, imperiling the strong bond he has with his younger sibling. This first novel represents an expansion of a short story by Smith (who grew up in Leavenworth), and at times, it seems to strain from the added development. But Smith’s spare, taut prose, along with the empathy he brings even to characters neither you nor the boys like much, compensates for such lapses, as does a flair for raw, gut-clutching menace shared by masters of rural American gothic. Smith’s not in their company yet. But, in time, he could be.
Through every sad, ugly twist of this story, you feel yourself wanting to turn away, but you can’t.Pub Date: March 1, 2016
ISBN: 978-0-374-53588-9
Page Count: 336
Publisher: Farrar, Straus and Giroux
Review Posted Online: Dec. 21, 2015
Kirkus Reviews Issue: Jan. 1, 2016
BOOK REVIEW
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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