A splendid debut that promises great things to come.
An Ojibwe writer from northern Minnesota's Leech Lake Reservation debuts with a sad but graceful tale of seven people living in a crumbling housing tract called Poverty.
The first 25 or so pages on the desecration of the Mississippi River and the people's land may be some of the most depressing ever written, and it takes a little effort to wade through them. It's worth it, though, as the novel then unfolds with delicate human insight and engaging drama. ``Poverty'' is the Kennedy-era housing tract in the corner of the Minnesota reservation. The tract is in a forested area where, long ago, twins Duke and Ellis built a cabin with their pregnant teenage girlfriend, Jeannette. Now in their 70s, Duke and Ellis live in a Pontiac Catalina parked outside the house where Jeannette lives with daughter Celia and Celia's boyfriend, Stan, a Vietnam vet. Also in the house is the six- fingered and mostly silent Little, Celia's son (the father's identity is one of the central dramas here), as well as Donovan, whom the twins found half-frozen in a car crashed nearby. In Poverty's second house live Stan's sister Violet their father is in prison, their mother fled the reservation long ago and her daughter, Jackie. The unique bonds these people have to each other are revealed as each character tells his or her story: Stan recounts the night in Vietnam when his best friend was killed; Jeannette her tale of being taken to Iowa as a young girl to serve as maid servant to two elderly white women; and Donovan reveals how Little, brimming with excitement, climbed above Poverty and to his death. This clan forms an odd but tightly knit unit that faces numerous deaths, rapes of people and of their land and other hardships, transcending them all. They claim Poverty, and poverty, as theirs, transforming it into a place of beauty that perhaps only they can recognize.
A splendid debut that promises great things to come.Pub Date: Oct. 1, 1995
ISBN: 1-55597-231-4
Page Count: 252
Publisher: Graywolf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1995
BOOK REVIEW
BOOK REVIEW
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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