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THE BRIDEGROOM

STORIES

Marvelous fiction. Ha Jin’s work is getting better and better.

The cultural and economic consequences of capitalism vs. communism are dramatized in unforgettably human terms in this brilliant third collection of 12 stories (Under the Red Flag, 1997, etc.) by the Chinese-American author (Waiting, a 1999 National Book Award winner).

Ha Jin is a master of cunningly shaped anecdotal tales, like “A Bad Joke,” in which a careless remark misinterpreted as criticism of Chairman Deng Xiaoping earns two naïve peasants prison terms, and the stunning “Saboteur,” about a dedicated Marxist whose arrest on a trumped-up charge leads him to take a hideous revenge. His mastery of mixed tones and narrative surprises is also showcased in the unusual title story, about a young husband’s apprehension for the supposedly Western-inspired “crime” of homosexuality (as observed by his initially sympathetic, sexually befuddled, eventually disapproving father-in-law), and the double-edged “A Tiger-Fighter is Hard to Find,” which deftly satirizes both the warrior’s mentality and the issue of property (in this case, a tranquilized, though far from tranquil, 300-pound Siberian tiger). Of several stories dominated by pointed East-West contrasts, the most plaintive are “The Woman from New York,” who fails to return from work and study abroad to a culture that rejects her as corrupted by “foreign influence,” and “In the Kindergarten,” a delicate portrayal of a young girl’s introduction to communal living in the form of day school. More ambitious exposures of lives altered by politics appear in “An Official Reply,” about a charismatic teacher whose rise in the Party offends his former admiring student, and “After Cowboy Chicken Came to Town,” about a crisis created by an American fast-food franchise that prospers in China. Even better is the Chekhovian “Alive,” which deposits the amnesiac survivor of an earthquake in a satisfying “new life”—a life that he’ll never reconcile with his former one.

Marvelous fiction. Ha Jin’s work is getting better and better.

Pub Date: Oct. 3, 2000

ISBN: 0-375-42067-3

Page Count: 256

Publisher: Pantheon

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2000

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ANIMAL FARM

A FAIRY STORY

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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THE HANDMAID'S TALE

Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

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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

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