The narrator ultimately realizes what an innocent he's been, and the reader shares the epiphanies of this pilgrim’s progress.
Since emigrating from his native China, Jin has earned considerable renown for his poetry, stories, and novels (Waiting won the National Book Award in 1999). But he’s never been known as a barrel of laughs.
What makes his latest so refreshing is that it's laugh-out-loud funny while being as illuminating as ever. The plot is simple enough: investigative reporter Feng Danlin, who narrates the book, works for a Chinese news agency in New York. His editor assigns him to unravel the true story behind a blockbuster novel by his ex-wife, Yan Haili, who dumped him on the day he traveled to America to join her and who's now written a romance that exploits 9/11 and is attracting international attention and million-dollar film deals—and even an endorsement from President George W. Bush. She’s been mentioned as a contender for a Nobel Prize, though Feng knows she's “certainly not a gifted writer” and thinks all the attention is “getting more farcical by the hour.” The problem is that everything he writes in his exposés seems to some like the bitterness of a jilted husband whose own writing has never generated such interest. There are accusations about his failings as a husband, his misogyny, and his betrayal of China. As the plot thickens, it seems that not only does the Chinese government have a vested interest in the success of Haili's novel, but that American bureaucracy and Danlin's own employers have begun colluding against him. Is he paranoid? Could his ex-wife’s novel have more merit than he thinks? Is the fix really in? The tensions extend well beyond the two antagonists, as relationships of male/female, fact/fiction, Chinese/American, freedom/fatalism, and ideals/realities are all thrown up for grabs, subverting conventional wisdom.
The narrator ultimately realizes what an innocent he's been, and the reader shares the epiphanies of this pilgrim’s progress.Pub Date: Oct. 25, 2016
ISBN: 978-0-307-91162-9
Page Count: 240
Publisher: Pantheon
Review Posted Online: Aug. 6, 2016
Kirkus Reviews Issue: Sept. 1, 2016
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PROFILES
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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