Not so bad for soap opera, but pretty cornball all the same.
Tuten’s latest (Van Gogh’s Bad Café, 1997, etc.) is basically a potboiler romance in academic drag.
Dominique just can’t get herself straight. An American art historian, she grew up in a Long Island town that she managed to escape on the strength of her brains and her eyes, becoming an authority on Goya and Poussin. A superficial leftist in her youth, she fell in love with her college classmate Rex, who was so committed to the revolution that he dropped out of academic life to join student agitators in Mexico. Dominique plodded on with graduate school and studied in Paris for a while under her mentor Professor Morin, who fell in love though more than 30 years her senior. In Paris, she meets a rich American businessman, Eric Wynan, who falls in love with her, too. But she is really interested in getting back together with Rex, now in Paris with some French Communists he met in Mexico. One day in the Luxembourg Gardens, Dominique discovers him out for a walk—with his baby boy Kenji. It turns out that he had the child by a Japanese revolutionary who later died—or did she? He now lives in a working-class suburb inhabited mainly by North Africans, and he works as a bicycle repairman. To help him, Dominique gets Eric to invest in setting up a bicycle shop for Rex—but tragedy intervenes when Kenji disappears. Rex is so distraught that he becomes a Sufi and moves to North Africa. Eric loses his investment, Professor Morin dies, and Dominique is denied tenure. Can things get any worse? You bet: Dominique is diagnosed with cancer and has to begin a grueling course of chemotherapy. Fortunately, she still has Eric to rely on, and he helps her financially. But does she love him? And will she ever see Rex again?
Not so bad for soap opera, but pretty cornball all the same.Pub Date: Oct. 1, 2002
ISBN: 0-393-05105-6
Page Count: 256
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2002
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
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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