Full of wit and mystery. Memorable and sure to be one of the big novels of the season.
A charged philosophical novel that ranges across centuries to examine where things went wrong (and sometimes right) in history for the Jews, from the heyday of Moorish Iberia to the collapse of the Berlin Wall.
“Our family originated in a mystery and a miracle before almost any of the European nations were created, and we’ve played a significant role in history without feeling arrogant about the secret knowledge...that we bore with us through various ages and lands.” Our narrator relates a millennium’s worth of tales surrounding that “secret knowledge,” namely the means to stay alive forever. Other alchemical talents include potions of various sorts, including one to fend off treason, another concoction that would find favor in the courts of Europe, where some member of the Spinoza family or another, Zelig-like, is always present. (The omnipresence of figures such as “the Cabalist” has a sharp point.) A best-seller in its birthplace of Norway, publisher and literary critic Gleichmann’s novel opens with a dying mother’s plaintive remembrance of a blameless young boy’s death at the hands of the Nazi occupiers of Oslo; it closes with an evocation of that sad young man, raised in the voice of our narrator, who is threatened with the very loss of that voice. He, like all in his lineage, has a gift of “embellishing the ugly and making the fleeting moment eternal.” But can that gift save them? Can they spin the gold of immortality for themselves as well? In a sprawling saga that embraces the likes of the storied kings of Castile and the philosopher Voltaire, Gleichmann has obvious good fun in exploring the implications, as well as the Big Questions, chief among them, “how God could allow such a thing.”
Full of wit and mystery. Memorable and sure to be one of the big novels of the season.Pub Date: Oct. 1, 2013
ISBN: 978-1-59051-589-1
Page Count: 800
Publisher: Other Press
Review Posted Online: July 6, 2013
Kirkus Reviews Issue: July 15, 2013
Suspenseful, full of incident, and not obviously necessary.
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
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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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