A well-observed and poignant exploration of middle-aged angst.
Frustrated philosophy professor’s wife is shaken out of her inertia when a popular young author joins the faculty.
With an empty nest and an urgent sense of dissatisfaction, Ruth Blau knows there ought to be more to her life than holding potlucks for socially awkward graduate students—which might explain her tendency to drink too much and do too little. Once the promising author of a satirical trilogy, Ruth hasn’t been published in 25 years. She is understandably intrigued, then, by the arrival of photogenic new writer-in-residence Ricia Spottiswoode. A critical and financial success, Ricia brings along her bearish, much older husband Charles, who is also teaching a course at the university. After befriending the eccentric Charles, Ruth finds the courage to pass along to Ricia a draft of a novel she is working on. After so much time out of the game, she is not quite sure what to expect when the younger woman actually reads it. Ruth and husband Ben also struggle privately with the estrangement of their son Isaac, an emotionally disturbed 24-year-old who has chosen to live as a street person, haunting their Texas town in a filthy black coat and wizard’s hat. He will only communicate with them via his unconventional Mexican American therapist, causing them to wonder if the therapy (which they pay for) is doing more harm than good. Meanwhile, mild-mannered Ben undergoes a transition of his own as he loses his devoted secretary in a power struggle with the dean. Forced to accept a wildly inappropriate new assistant, he finds himself caught up in a PC nightmare that would be funny were it not so potentially damaging to his career. This debut novel from essayist and memoirist Gordon (Are You Happy? A Childhood Remembered, 2006, etc.) manages to skewer academia while still respecting a life of the mind. The characters are remarkable, especially the exasperating Ruth, whose insecurities and narcissism consistently stand in her own way.
A well-observed and poignant exploration of middle-aged angst.Pub Date: March 10, 2009
ISBN: 978-0-385-52587-9
Page Count: 288
Publisher: Spiegel & Grau
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2009
BOOK REVIEW
BOOK REVIEW
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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