Unlike shooting stars, Sedgwick’s yearning protagonists seem unable or unwilling to “shower the world with light.”
Haunted characters struggle to find fulfillment.
In her ambitious but flawed debut novel, journalist, editor, and former research physicist Sedgwick leaps through time, from 1066 to the present, following the trajectories of her characters’ lives as various comets surge gloriously through the night skies. She focuses on four main characters: cousins Róisín and Liam are star-crossed lovers both because of their consanguinity and their unbridgeable differences. Róisín, an astronomer, wants to travel the world researching the cosmos; Liam is committed to staying on his family’s farm. The second pair is a mother and son, Severine and François. Even as a child, François longed to explore far-off places, from South American jungles to Antarctica’s “wild emptiness”; but Severine will not leave their native Bayeux, France, because she is surrounded there by 11 ghosts from her family’s long past. These ghosts are the novel’s liveliest characters: playful, teasing, and so comforting that Severine cannot live without them; they are more crucial to her than François. “Why should she have to choose,” she asks herself, “between her ghosts and her son?” Among the ghosts, Severine is especially attached to her grandmother, “who everyone thought was crazy, who made the world come alive, whose smile made Severine feel special, and loved.” Because Granny’s ghost treats her like a child, Severine seems infantilized—or, maybe, crazy. François can hardly make sense of his strange mother. Rather than allowing her characters to evolve, Sedgwick belabors their predicaments in chapter after chapter. The image of shooting stars suggests a theme: as Róisín explains, “All those stars we see...they’re dead already. They have exploded, rejected everything that they were, and the raw components, the elements they were made of, that is where life comes from.” But this idea of transformation is only barely hinted at, and, except for Severine, the characters persist in sadness.
Unlike shooting stars, Sedgwick’s yearning protagonists seem unable or unwilling to “shower the world with light.”Pub Date: Oct. 11, 2016
ISBN: 978-0-06-244876-7
Page Count: 304
Publisher: Harper/HarperCollins
Review Posted Online: July 18, 2016
Kirkus Reviews Issue: Aug. 1, 2016
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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