The second half of Hawkes’s two-novel debut (following last month’s Surveyor, p. 678) is the haunting tale of a young protagonist’s confused and threatened relationships with his loved ones and his own future. We meet Floridian Joseph Taft as a ten-year-old boy who has been mysteriously mute since birth (“He has the necessary machinery . . . it just isn’t working”) and who is gifted and burdened with the ability not just to see the future but to feel himself experiencing it—for example, his own wedding day and lovemaking with the girl who’ll become his bride. And, most crucially, he “sees— his young sister’s death by drowning in a neighbor’s swimming pool. A panicked effort to thwart her fate (by stealing a dump truck and destroying that pool) is interpreted as an extreme example of Joseph’s adolescent rebelliousness—which, coupled with his refusal to learn “to sign,” widens the distance between him and his compassionate, frustrated parents. Hawkes shifts adroitly among past, present, and future scenes, and he produces several tingling narrative sequences: a home interview with an insensitive “special education” teacher; the comfort offered by a well-meaning minister who tells a wonderfully offbeat story about the power of parental love; a moving “conversation” with Joseph’s younger brother, who begs to be told how his life will turn out; and the novel’s emotional ending, in which kids eager to elude their parents’ sheltering are released for trick-or-treating with Joseph’s (necessarily) unspoken warning and blessing: “Stop, Go, I love you, Come back, Take care, Goodbye. Go on”). This second part of Hawkes’s debut gracefully dramatizes the wary insularity of childhood and youth, the gaps that widen among family members as they age and change, and, even so, their inexplicable and sustaining connectedness. An unusual and imaginative story, one of the year’s most pleasant (together with Surveyor) literary surprises.
Pub Date: Aug. 31, 1998
ISBN: 1-878448-82-X
Page Count: 175
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 1998
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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