A lyrically depressing vision of things to come.
Donovan (Julius Winsome, 2006, etc.) imagines a drugged-up dystopia.
Sunless, the protagonist of this harrowing little fable set in the not-too-distant future, begins his story as his family awaits the birth of his little brother. Told in the naively poetic voice of a child, these recollections are hauntingly sweet. But the longed-for baby dies before he is born. Sunless’s mother descends into despair, and she masks her desolation with pills. Sunless leaps ahead to young adulthood, but his voice remains that of a child, as if his mother’s drugged torpor has deprived him of the nurturance he needed to grow. After his father’s death, he begins sneaking a few of his mother’s pills. Then he discovers meth. His innocence remains intact, but it acquires a frightening, paranoid edge, and Sunless’s descent ends in murder. Out of money, out of drugs and utterly alone, Sunless offers himself as an experimental subject to Pharmalak. This company’s philosophy is that the “taking of medication is a lifelong pursuit, because life is potentially a long illness.” Their marketing plans incorporate drugs to fit any situation—including color-coded chemicals to correspond with the nation’s terror-alert system. When Sunless arrives at Pharmalak, they’ve just developed a new drug to treat everything from “Sudden Irritability Syndrome” to “Aggravated Sensitivity Disorder,” and Sunless will become the first person to take it. Donovan suggests that psychotropic drugs are not just infantilizing but ultimately annihilating, that the emotional homogenization they provide is a type of regression that leads to the eventual uncreation of the user. His America is a place ruled by conformity and escapism, by religion, consumerism and dispassionate inhumanity. Donovan isn’t really saying anything that hasn’t already been said by Aldous Huxley, Anthony Burgess and William S. Burroughs, and, in an age when cartoon ads for antidepressants appear on prime-time TV, this tale hardly requires the creative prescience exhibited by those earlier doomsayers. But Donovan does offer the annals of dismal fantasy a powerfully resonant narrative rendered in a compellingly original voice.
A lyrically depressing vision of things to come.Pub Date: Oct. 1, 2007
ISBN: 978-1-58567-981-2
Page Count: 192
Publisher: Overlook
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2007
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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