There is good and there is evil. Jackson Tremain will identify one from the other, and right the wrong, stirring an...
A carefully plotted mob thriller that will leave its readers faintly exhilarated, though also unable to remember who exactly was good and bad—yet not particularly disappointed by that fact.
Jackson Tremain ably takes up where his grandfather and family patriarch King left off, incorporating perhaps a touch more ennui to the still burgeoning Tremain litany of blood, mayhem, and intrigue. Johnson’s follow-up features the ailing hero, King, of his first novel (Standing at the Scratch Line, 1998) in a cameo role, albeit one that demonstrates a Wizard of Oz–like ability to predict his estranged grandson’s awakening. Tremain, a young, African-American city manager, must find the guts to escape the emasculating perils of bureaucracy and summon up the wherewithal to protect his grandfather’s legacy. He escapes the bonds of mediocrity, and, rest assured, battles nobly, facing off against a variety of colorful, immoral louts. The story is set mainly in the summer of 1982, with background information incorporated through a series of flashbacks from the ’50s and the ’60s that feature vignettes from Tremain’s summers at his grandfather’s side. The younger man is aided in his epic quest for personal and familial salvation by an astonishingly loyal group of friends and acquaintances, some having been steeped in Tremain family struggles for 50 years, others merely innocent by-standers roused into Rambo-like righteous indignation. It seems, in fact, that the entire law-abiding Oakland community will rise up and defend one of their own when threatened by such obviously malignant forces. With a panoply of bars, trendy restaurants, dusty Mexican towns and city streets, Johnson has created an intricate page turner that lacks any pretense of moral or ethical complexity.
There is good and there is evil. Jackson Tremain will identify one from the other, and right the wrong, stirring an expectant reader’s heartbeat along the way.Pub Date: Aug. 27, 2002
ISBN: 0-375-50567-9
Page Count: 784
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2002
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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