Slight and obliquely told, but dense with atmospherics and creeping dread.
From the British author of The Hole (2001): a first US appearance of a slim, taut, creepy psychological thriller, written when Burt was 19.
Mattie is five and his sister Sophie seven in Mattie’s earliest memories of their gothic English country-house childhood, at first somewhat normal in the telling, but not enough to hide the fact that something—or everything—is just not right. We see the young Sophie through Mattie’s eyes as he recounts key details from their closed and obsessively secretive world. And we see Mattie, in the present, through the eyes of the novel’s narrator as, one night some twenty years later, he struggles to address those memories. Mattie has brought “Sophie” to the now-abandoned house in which he grew up; tied up and helpless, she tries to understand the adult Mattie as he speaks, looking for any clue that might help her. Their mother was a shadowy presence occasionally erupting in towering anger, their father almost completely absent, though he does show up to impregnate his wife: the new little brother doesn’t last long. Sophie, frighteningly intelligent, has an unexplained hold over their mother, who seems to fear her; and that fear is somehow related to Mattie’s nightmares of a terrifying figure, Ol’ Grady, creeping into his room at night and of Sophie’s protecting them. Sophie works hard to conceal her intelligence from her teachers, but the other kids know she’s not like them. When two boys make the mistake of getting into a schoolyard scuffle with Mattie, Sophie displays an almost inhuman efficiency in getting rid of them. As Mattie’s memories approach the day when 13-year-old Sophie is to go off to boarding school and leave Mattie alone with their mother, the identity of the monster in the family becomes less clear, and his captive realizes she’s not the first “Sophie” to hear the story.
Slight and obliquely told, but dense with atmospherics and creeping dread.Pub Date: July 1, 2003
ISBN: 0-345-44659-3
Page Count: 224
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: May 1, 2003
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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