Searching, heartbreaking, and achingly beautiful, the novel is as intimate as it is sweeping.
A powerful family saga, Palacio’s gorgeous and challenging debut follows the Encarnacións as they navigate the space between Hartford, Connecticut, and their native Cuba.
In 1980, Soledad Encarnación gathered her children, twins Ulises and Isabel, and emigrated from Cuba to the U.S., members of the “now-infamous” Mariel Boatlift. Her husband, Uxbal, though, resisted and then refused. “Kingdoms, he said, are hard to come by,” and indeed, “he was so certain of his position that he’d tried holding his daughter ransom....Soldedad was able to retrieve the girl only by holding Ulises hostage in return.” And so the family is split: Uxbal remains in Buey Arriba while Soledad takes the children past Miami, with its waiting Cuban community, and on to Hartford, where her “second cousin knows some people.” There, she establishes herself as a court stenographer, eventually beginning a romance with Henri Willems, a Dutch horticulturalist haunted by his family’s past. Ulises, star of his school’s Latin program and growing enormous, finds a home working Willems’ tobacco fields. “His logic was that he could scrape together a father, his old father, from bits of the Dutchman; he could resuscitate memories and eventually recall something of Uxbal besides the portrait lurking about his brain,” Palacio writes. Meanwhile, Isabel devotes herself to the dying. Her spiritual hunger is powerful, often unsettling; at 18, despite her family’s protests, she joins a convent, taking vows of chastity, poverty, and silence. But their tenuous American equilibrium is disrupted when a letter arrives from Uxbal, reasserting his existence and, unexpectedly, inadvertently, calling the family home. The fates of the Encarnacións, it becomes clear, are inextricably linked with Cuba and with each other. Palacio’s writing is deceptively simple and startlingly original, and his characters, raw, almost mythic in scope, hang on long after the last page.
Searching, heartbreaking, and achingly beautiful, the novel is as intimate as it is sweeping.Pub Date: Oct. 4, 2016
ISBN: 978-1-101-90569-2
Page Count: 320
Publisher: Tim Duggan Books/Crown
Review Posted Online: July 18, 2016
Kirkus Reviews Issue: Aug. 1, 2016
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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