Agonizing, uncompromising southern gothic that glares unflinchingly at the cultural motifs of sin and salvation as they reassemble the shattered life of a burned-out Vietnam vet. Just when we thought there was nothing left to be said about clichÇd, late 1990s redemption sagas, Evans (The Blue Hour, 1994) delivers a bitter, cynical morality tale that both ridicules and praises the morbidly American urge for salvation. Vietnam vet Carter Clay is getting his life back together, attending AA meetings and working as a short-order cook at a Florida panhandle roadside restaurant, when he runs into his nemesis, Finis Pruitt, a homeless psychopath masquerading as a Vietnam vet. Pruitt, a biliously evil white-trash Iago, fears that the all-too-trusting Clay will wake up to Pruitt’s lies and expose him as a fraud. So Pruitt gets Clay drunk and persuades him to drive into the Florida wilderness, where Pruitt hopes to kill him. But Clay loses control of his van and hits Joe, Katherine, and teenaged Jersey Alitz, vacationers on their way home from a visit to Katherine’s widowed mother, M.B. Milhause. Horrified at what he’s done, Clay drives off, ditches Pruitt, and tries to elude his guilt, only to wind up at the local hospital, where he learns from M.B. that Joe Alitz is dead, Katherine has permanent brain damage, and Jersey is paralyzed from the waist down. Clay becomes so obsessed with what is, after all, a horrific accident, that he gets a job working as an aide in the clinic where Katherine is slowly recovering. He also joins the Christian church where M.B. takes Jersey and Katherine to be saved by the hypocritical Pastor Bitner and grows so close to the Alitz family that he begins to fantasize about marrying Katherine—until Pruitt wanders again into his life to make a final, harrowing attempt to destroy Clay and his adopted family. A masterful story of simple people trying to understand God’s inhumanity to man.
Pub Date: March 1, 1999
ISBN: 0-06-019265-8
Page Count: 416
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 1999
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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