Contemporary fiction at its best—accessible, breathtaking and heartbreaking.
Brilliant plotting, haunting characters and an elegiac tone distinguish this dazzling novel by Reiken (The Lost Legends of New Jersey, 2000, etc.).
Criticized for his books’ many plot coincidences, Charles Dickens claimed that those who don’t notice coincidence in their lives simply don’t have their eyes open. Reiken seems to hold similar views on concatenation, dexterously using “coincidence” to move his narrative from one relationship and place to another. The novel starts with David and Beverly, an unmarried but committed couple snorkeling around manatees in Florida. David’s leukemia is in remission, but he wants Beverly to adopt his son if he should die. Beverly then links up with Tim, their “manatee scout,” who’s in a local band with vocalist Dee. The next part of the narrative follows Tim and Dee as they fly to Salt Lake City to visit Dee’s brother Dillon, who’s in a coma as the result of a motorcycle accident. Sitting next to them on the plane is a woman who turns out to be a fugitive (of sorts), a much-sought radical from the 1960s; FBI agents’ pursuit of her becomes the next segment of the narrative. The following chapter presents the point of view of Jennifer, Beverly’s brilliant but somewhat wayward daughter, on her mother’s relationships. And so it goes. Reiken segues from character to character with remarkable virtuosity, grounding the narrative in several seemingly disparate but ultimately unifying topics, including the mass murder during World War II of 500 Jews (Beverly’s father and uncle perhaps among them) and an Israeli soldier’s abortive attempt to save a Palestinian boy from falling off a roof, an event that we learn later is connected to Dillon’s motorcycle accident. While Reiken ties his narrative knots, he leaves them satisfyingly loose.
Contemporary fiction at its best—accessible, breathtaking and heartbreaking.Pub Date: April 26, 2010
ISBN: 978-0-316-07756-9
Page Count: 336
Publisher: Little, Brown
Review Posted Online: Sept. 22, 2010
Kirkus Reviews Issue: March 1, 2010
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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