by Flannery O'Connor ‧ RELEASE DATE: Feb. 24, 1959
In her first novel — Wise Blood and in a collection of short stories — A Good Man is Hard to Find Flannery O'Connor manifested, along with her obvious talent, a penchant for the grotesque. If one wishes, this novel — an exercise in the macabre — can be read as an allegory: a struggle for a soul, a conflict between evils. When his great uncle died at the breakfast table Francis Marion Tarwater, 14, too drunk to bury him, fired his house and set out for the city to find out how much of what the old man had told him was true. The old man, who said he was a prophet, had kidnapped the boy from his uncle, baptized him, and raised Tarwater to expect the Lord's call himself. Rayber, Tarwater's uncle, a schoolteacher, had, himself, received the old man's indelible mark but he had repudiated his fate and married a woman from the Department of Welfare, twice his age. They had one child: an idiot. When Tarwater met the schoolteacher's dim and ancient idiot. When Tarwater met the schoolteacher's dim and ancient idiot child, Bishop, he knew that he was expected to baptize him — to carry on his great uncle's mission. The battle begins: between the schoolteacher's belief in nothing and the old man's fanaticism. Finally Tarwater succumbs to the tide of his heritage, baptizes and drowns Bishop and goes forth to the dark city "where the children of God lay sleeping". As a specialist in southern horror stories Miss O'Connor's attitude has been wry, her preferences perverse, her audience special.
Pub Date: Feb. 24, 1959
ISBN: 0374530874
Page Count: 260
Publisher: Farrar, Straus & Cudahy
Review Posted Online: Oct. 2, 2011
Kirkus Reviews Issue: Feb. 1, 1959
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by Margaret Atwood ‧ RELEASE DATE: Sept. 10, 2019
Suspenseful, full of incident, and not obviously necessary.
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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
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
by Chinua Achebe ‧ RELEASE DATE: Jan. 23, 1958
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
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