A courtroom drama, courtesy of the tireless civil libertarian and novelist, whose recent home runs include The Trial of Abigail Goodman (1993), about the anti-abortion movement; and An Independent Woman (1997), a sixth-volume wrap-up of the Immigrants series. Seventy-eight-year-old Ike Goldman, a retired Columbia University contract law professor, has been a widower for three years when he saves a 40ish woman from jumping off the George Washington Bridge, takes her home, lets her sleep over, treats her to a fairly fancy dinner the next night, and, despite all reason, quickly finds himself falling in love. As it happens, Elizabeth Hopper is the estranged wife of multimillionaire William Sedgwick Hopper, a Wall Street partner neck-deep in scandal. The story moves along sedately in Fast’s most relaxed style ever, with the author of Citizen Tom Paine and Freedom Road plainly enjoying and indulging himself in this smoked salmon of romantic fantasy, adding plot dollops to keep the reader alert. A depressed artist terrified of her husband, Elizabeth took a part-time job as a shoe clerk right after the annulment came through. She calls herself a battered woman who wants to help other battered women. But is this the whole truth? Within six weeks Ike wants to marry her, and she agrees to his proposal. But then, three days after her acceptance, detectives appear at Ike’s door with a search warrant: William Hopper has been shot to death, and Liz is jailed for the homicide. Subsequently, Ike spends $100,000 hiring a female criminal lawyer to defend his love, who has been indicted on essentially circumstantial evidence. The eponymous redemption will not result from anyone’s change in character, but rather from an event out of left field involving a previously unknown character. Readable, though far from stylish and not as gripping as some of our lawyer novelists. Still, Fast’s followers won—t be disappointed.
Pub Date: July 6, 1999
ISBN: 0-15-100455-2
Page Count: 292
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2000
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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