A spare, fast-moving parable whose lure, even more than that of The Thief (2012), is more philosophical and abstract than...

EVIL AND THE MASK

A moneyed, aimless Japanese kid struggles against the curse his father has laid on him.

Like his own father before him, Shozo Kuki has great things in mind for his youngest son. Even before Fumihiro Kuki turns 12, his father tells him that he plans to make him “a cancer” whose life will be dedicated to making other lives miserable. As the months go by, Fumihiro’s father hints at the particulars of the plan, which reiterates a family pattern generations old. After introducing a girl named Kaori into his household as Fumihiro’s playmate, confidante and intimate, Kuki senior plans to have her gang-raped as his son looks on, destroying his belief in the goodness of humanity and his own power to battle its evil. The only way Fumihiro can rescue himself and Kaori, whom he has indeed fallen in love with, is to kill his father. Yet not even the perfect crime Fumihiro hatches and executes can save him from his father’s clutches, for committing a murder at such a tender age permanently warps his mind and estranges him from Kaori. And when he comes of age in the shadow of his father’s mysterious disappearance, Fumihiro’s attempts to find out more information about Kaori, now a hostess in a nightclub, and protect her from whoever else has taken a close interest in her welfare, only entangles him more deeply with the anti-government terrorist group JL and with his own deeply divided nature.

A spare, fast-moving parable whose lure, even more than that of The Thief (2012), is more philosophical and abstract than visceral.

Pub Date: June 11, 2013

ISBN: 978-1-61695-212-9

Page Count: 368

Publisher: Soho Crime

Review Posted Online: June 17, 2013

Kirkus Reviews Issue: July 1, 2013

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Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

THE HANDMAID'S TALE

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

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ANIMAL FARM

A FAIRY STORY

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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