The newest installment in Harington’s ongoing chronicle of the Arkansas Ozark community of Stay More (The Choiring of the Trees, 1991, etc.). This is a world that Mark Twain, or perhaps Booth Tarkington, would have recognized: an insular and embracing small town, despite the conflicts that define it at the time this novel’s events occur. World War II is underway, and as Harington’s preadolescent narrator “Dawny” (who, not quite believably, produces his own version of a daily newspaper) reports, the younger “Stay Morons” have divided themselves up into gangs labeled Allies, Axis, and Japs (“all for the sake of contests, baseball, war games, the play by which we find ourselves in the process of finding each other”). A lot happens in these alternately relaxed and overheated pages: the youngsters’ (all too representative) efforts to organize a town government and elect a “mare” (mayor) fall apart under their inability to bury their differences; local fathers and sons go off to war never to return home; a harmless mule is beaten to death, and a disrespected schoolteacher shows the stuff she’s made of (a very Twain-like episode); and in the novel’s culminating series of actions, a group of soldiers preparing for an invasion of Japan is billeted in the nearby hill country, Dawny finds and loses his first love, and a shocking act of violence shakes the sleepy Stay Morons painfully awake. Some of this is charming (Harington is at his best when contriving tall tales about mosquitoes who “outwit” those newfangled inventions called window screens); unfortunately, much more of it feels forced and miscalculated (Dawny is a little too bright and perceptive to be believed; and the melodramatic momentum of the closing pages undoes the careful pacing that produces many of Harington’s best effects, and furthermore seems to have come out of another novel entirely). Stay More remains an intermittently pleasant place to visit, but it never seems fully real, and you can’t imagine yourself, or anyone else, actually living there.
Pub Date: Sept. 30, 1998
ISBN: 1-887178-07-4
Page Count: 256
Publisher: Counterpoint
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1998
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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