The rage in France, where a film version starring and directed by Collard won several major awards shortly after his death in March from AIDS: a sterile, semen-soaked tale of a narcissistic bisexual and his amours. Cameraman narrator Jean—with his voracious sexual appetite and eye for beauty in all comers—brings young Laura into the music video he's shooting but is distracted by other pretty faces before he can seduce her. Eric and then Sammy kindle his desire, with Sammy more a tease than a true lover, but eventually Laura comes back into the picture; when the two finally get down to business, Jean neglects to tell her he's HIV-positive. After much deliberation he confesses the fact, but to his surprise Laura becomes even more attached to him. Although he and Sammy move in together, he still makes room in his bed for Laura; when she grows tiresome, he lets her talk to his answering machine—which she does obsessively. Meanwhile, Sammy, who's taken a few turns with Laura himself, develops an interest in skinheads and alchemists and goes his own way, but he's quickly replaced by Jamel—an Arab youth with a hatred of skins and a baseball bat to prove it. Interspersed with these encounters are the savage, nameless ones beneath Paris bridges, but nothing proves fully satisfying, and—in spite of Laura's desperate pleas for love and her claim that she too has become HIV-positive—her lover is unable to feel anything other than apologetic. Not without its merits as a vision of modern times, but the diffidence and world-weariness here are all too familiar, turning what might have been a blistering story of love and life at loose ends into an endless series of chilling poses.
Pub Date: Jan. 21, 1994
ISBN: 0-87951-534-1
Page Count: 240
Publisher: Overlook
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1993
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
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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