Not altogether unflawed, but a heartfelt portrait of young men in a bygone age.
An abused boy finds comrades-in-arms among his fellow inmates when he’s sent to a remote reform school high in the Rocky Mountains.
Texas-based debut novelist Hilton employs a clear-eyed adolescent voice in this story of a young man lost in the wilderness. The story is set in 1963 and stars the tough-as-nails William Sheppard, a 13-year-old from Chicago’s South Side. After years of abuse at the hands of his alcoholic father, Will stabs him (though not fatally) with his Davy Crockett Explorers penknife. For his crimes, a judge sends the young man to the Swope Ranch Boys' Reformatory, a desolate and corrupt detention center on Colorado’s rugged west slope. On his very first day, Will is attacked by Eddie Tokus, for the simple reason that it’s the school’s tradition to let the last boy in beat on the next inmate—with the reformatory’s wardens and guards betting on the ferocious contest. He wins, earning the nickname “Nosebleed.” “Maybe that’s what the ranch is,” he offers. “It’s the same universal rule any kid faces: swim with the group or sink alone.” To keep his hide among the den of thieves and hooligans, Will befriends three other boys: Coop Kingston, a regretful firebug who burned his adopted family’s home to the ground; Micky Baines, whose rebellious nature is overwhelmed by frontier violence; and Benny Fritch, an innocent who was sent up because he took the rap for his little brother. The winding tale of their passage through this world is marked by inevitable violence, first from Frank Kroft, the chief guard who kills one of the boys. Later, their bond is shattered by the introduction of John Church, a prisoner who deserves his sentence because of his uncontrollable rage. No one is left unmarked, especially Will.
Not altogether unflawed, but a heartfelt portrait of young men in a bygone age.Pub Date: Jan. 1, 2011
ISBN: 978-1-4391-8382-3
Page Count: 288
Publisher: Simon & Schuster
Review Posted Online: Oct. 21, 2010
Kirkus Reviews Issue: Nov. 15, 2010
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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