This has the bones of an excellent book, but, sadly, an untenable amount of flab is covering them.
The end of American civilization has come and gone, and a young married couple has fled Los Angeles to live in the wilderness in Lepucki’s debut novel.
Cal and Frida, alone in the woods, provide for themselves—but once Frida becomes pregnant, finding more of civilization’s refugees becomes important, especially since their only neighbors have committed suicide. They find an encampment surrounded by spikes and are invited to be candidates for the group. They will stay with the community, making friends and learning the ropes, until the other commune members vote on whether they should stay or leave. Soon they discover there are dangers even in this relatively secure place. They notice there are no children in the group, so they hide Frida’s pregnancy. Other unsettling details emerge as the couple tries to win the commune over—Frida by baking, Cal by serving as a member of the community counsel. The color red is forbidden. Surprisingly luxurious supplies arrive—but from where? The counsel is full of secrets, and the leader forbids Cal from sharing them with Frida. One character, thought to have died in a suicide bombing before Cal and Frida struck out for the wild, is miraculously alive at the commune, after the couple spent many pages grappling with his death. This is a misstep on Lepucki's part, showing the reader that she isn’t above bending the rules, which makes it more difficult to feel real concern for Cal and Frida. They will never be in too much trouble; Lepucki won’t allow it. The chapters alternate between Cal’s point of view and Frida’s and are heavy on flashbacks that bog down an otherwise tense narrative of survival.
This has the bones of an excellent book, but, sadly, an untenable amount of flab is covering them.Pub Date: July 8, 2014
ISBN: 978-0-316-25081-8
Page Count: 400
Publisher: Little, Brown
Review Posted Online: June 14, 2014
Kirkus Reviews Issue: July 1, 2014
BOOK REVIEW
BOOK REVIEW
PROFILES
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
An ambitious and satisfying conclusion to a monumental saga.
Brown completes his science-fiction trilogy with another intricately plotted and densely populated tome, this one continuing the focus on a rebellion against the imperious Golds.
This last volume is incomprehensible without reference to the first two. Briefly, Darrow of Lykos, aka Reaper, has been “carved” from his status as a Red (the lowest class) into a Gold. This allows him to infiltrate the Gold political infrastructure…but a game’s afoot, and at the beginning of the third volume, Darrow finds himself isolated and imprisoned for his insurgent activities. He longs both for rescue and for revenge, and eventually he gets both. Brown is an expert at creating violent set pieces whose cartoonish aspects (“ ‘Waste ’em,’ Sevro says with a sneer” ) are undermined by the graphic intensity of the savagery, with razors being a favored instrument of combat. Brown creates an alternative universe that is multilayered and seething with characters who exist in a shadow world between history and myth, much as in Frank Herbert’s Dune. This world is vaguely Teutonic/Scandinavian (with characters such as Magnus, Ragnar, and the Valkyrie) and vaguely Roman (Octavia, Romulus, Cassius) but ultimately wholly eclectic. At the center are Darrow, his lover, Mustang, and the political and military action of the Uprising. Loyalties are conflicted, confusing, and malleable. Along the way we see Darrow become more heroic and daring and Mustang, more charismatic and unswerving, both agents of good in a battle against forces of corruption and domination. Among Darrow’s insights as he works his way to a position of ascendancy is that “as we pretend to be brave, we become so.”
An ambitious and satisfying conclusion to a monumental saga.Pub Date: Feb. 9, 2016
ISBN: 978-0-345-53984-7
Page Count: 400
Publisher: Del Rey/Ballantine
Review Posted Online: Dec. 8, 2015
Kirkus Reviews Issue: Dec. 15, 2015
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