An inventive but ultimately thin portrayal of workplace despair.
A worker bee stumbles his way through an absurdist landscape in the company of two colleagues.
The accomplished prose stylist Sam Lipsyte (The Fun Parts, 2013, etc.) chose this novel by Mulcahy (English/Century Coll.; Constellation, 1996, etc.) to receive the Catherine Doctorow Innovative Fiction Prize from Fiction Collective 2; readers with an acutely tuned ear for language may find something of value here. Readers who value plot and storytelling over lyricism and expression, however, are more likely to throw it across a room. Here, the author fleshes out the themes of many of his short stories—humiliation in the workplace and a pervasive sense of helplessness—into a novella-length manuscript about work and what it does to us both personally and as a society. There’s an unnamed man who works in the office that drives the novel, but we never learn much about him; he might be ill or simply overmedicated. The man has two colleagues: Minouche, a poorly clothed co-worker given to running commentary, and O’Hearn, whose fewer comments are largely nonsensical. Mulcahy is obviously working hard to create something unique, but the overall effect can be frustrating. For example, here is the language that plays out as the man rides the bus. “Sequence played as apprehension. Repeated. No reason. The sequence was the sequence was the sequence. Any variance far against the odds, and any variance merely an interruption in the sequence of sequences to follow.” Eventually, the novel introduces other avatars: the Volunteer, the Queen, and two new consultants, Madame Pompous and the Twerp, but what roles they play in the novel’s social satire is open to interpretation. Eventually our man is assigned by the Twerp “to create the Awareness campaign which would increase awareness.” This assignment causes a backlash the man calls “The Incident,” leading to the loss of his job, which leads to “The Aftermath," which isn't much of an ending at all, really.
An inventive but ultimately thin portrayal of workplace despair.Pub Date: April 1, 2015
ISBN: 978-1-57366-050-1
Page Count: 144
Publisher: Univ. of Alabama
Review Posted Online: Jan. 18, 2015
Kirkus Reviews Issue: Feb. 1, 2015
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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