In this new novella by the Nobel Prize-winner, a Colombian-village murder 20 years in the past is raked over, brooded upon, made into a parable: how an Arab living in the town was assassinated by the loutish twin Vicario brothers when their sister, a new bride, was rejected by her bridegroom—who discovered the girl's unchastity. Cast off, beaten, grilled, the girl eventually revealed the name of her corrupter—Santiago Nassar. And, though no one really believed her (Nassar was the least likely villain), the Arab was indeed killed: the drunken brothers broadcasted their intentions casually; they went so far as to sharpen their murder weapons—old pig-sticking knives—in the town market; and the town, universal witness to the intention, reacted with epic ambivalence—sure, at first, that such an injustice couldn't occur, yet also resigned to its inevitability. As in In Evil Hour (1979) and other works, then, what Garcia Marquez offers here is an orchestration of grim social realities—an awareness that seems vague at first, then coheres into a solid, pessimistic vision. But, while In Evil Hour threaded the message with wit, fanciful imagination, and storytelling flair (the traits which have made Garcia Marquez popular as well as honored), this new book seems crammed, airless, thinly diagrammatic. The theme of historical imperative comes across in a didactic, mechanistic fashion: "He never thought it legitimate," G-M says of one character, ironically, "that life should make use of so many coincidences forbidden literature, so there should be the untramelled fulfillment of a death so clearly foretold." (Also, the novella's structural lines are uncomfortably close to those of Robert Pinget's Libera Me Domine.) So, while the recent Nobel publicity will no doubt generate added interest, this is minor, lesser Garcia Marquez: characteristic themes illustrated without the often-characteristic charm and dazzle.
Pub Date: April 15, 1983
ISBN: 140003471X
Page Count: -
Publisher: Knopf
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: April 1, 1983
BOOK REVIEW
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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