Despite some flaws, a courageous romance that reminds us that many of our problems are of the first-world variety, and how...
An American heiress volunteers for a month at an orphanage in the slums of Nairobi and falls in love while having to navigate political, racial and ethnic tensions.
Looking for relevance and a true human connection she’s never been able to find, Leda volunteers at a boys’ orphanage in Kibera, in the sprawling slums of Nairobi. She is immediately and powerfully drawn to the director, Ita, who’s traded in his dreams for the responsibility of child-rearing in tumultuous Kibera, as well as to the seven boys he is effectively raising. As attraction flares between them, Ita’s complicated childhood friend Chege—now a violent gangster—is confused and threatened by their romance. Meanwhile, tensions are rising amid a volatile political atmosphere (the book is set during the protests after the December 2007 presidential election) which will come to a head just as Leda is preparing to leave, with intentions of coming back. But as violence erupts in the slums, actions, reactions and misunderstandings will find Leda, Ita and Chege making difficult choices. They will see themselves and each other at their best and at their worst and must decide how to move through fear and betrayal into forgiveness and redemption. This is at heart a romance between two people who find acceptance and love in each other, after lifetimes of never quite feeling at home wherever they were. The book is marred by a jarring starting point, given its overall tenor and message, and an ending that works but may be too easy for some readers. (It certainly is easier to find a happy-ever-after when there is money enough to bring about life-changing opportunities.) The narrative style jumps back and forth among various voices and timelines, which can be disorienting, though it lends a suspenseful edge to the events.
Despite some flaws, a courageous romance that reminds us that many of our problems are of the first-world variety, and how lucky we are for it.Pub Date: March 26, 2013
ISBN: 978-0-7783-1379-3
Page Count: 336
Publisher: Harlequin
Review Posted Online: March 13, 2013
Kirkus Reviews Issue: April 1, 2013
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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