The clearly talented Tinti isn’t afraid to take risks, but sometimes she pushes her artfulness a bit too self-consciously.
As the title suggests, animals are the connecting motif among the 11 stories here, though newcomer Tinti’s real concern lies with damaged human beings.
In the title piece, an elephant keeper tempts fate by placing his head under the foot of his elephant—because of his own experience as victim and victimizer. The dog that appears in “Home Sweet Home,” sniffing around a dead body, belongs to a murderess who not only kills her husband’s mistress but also gets custody of her stepson, who has been unloved by his father. The pain of an absent or abusive father is frequently the underlying theme. In “Talk Turkey,” the most involving story here, three unhappy preteen boys run away from home. After an accident on the road, the two with fathers, however imperfect, are rescued by said fathers and pick up their lives; the youngster being raised by his single mother is left behind, never heard from again. The zoo diorama restorer who feels stalked by a stuffed bear in “Preservation” is coming to grips with the impending death of her father, a famous artist but negligent parent. The same bear appears in “Hit Man of the Year,” where it becomes a weapon used by a mob killer whose character is defined by his fatherless status and resulting lack of love. Tinti’s animals are seldom more that props or metaphors for what’s going on within her human characters; an exception is “Reasonable Terms,” in which zoo animals go on strike. The two most brutal tales, “Slim’s Last Ride” and “Bloodworks,” involve children whose attacks on animals are particularly vicious. “Miss Waldron’s Red Colobus” comes as a refreshing finale: the heroine, abandoned by her father but followed by his hired detectives, escapes into the African jungle, becomes an explorer of mythic proportions, and has a monkey named after her.
The clearly talented Tinti isn’t afraid to take risks, but sometimes she pushes her artfulness a bit too self-consciously.Pub Date: March 2, 2004
ISBN: 0-385-33743-4
Page Count: 208
Publisher: Dial Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2003
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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