Zaftig.
In his hugely ambitious second novel, German wunderkind Schulze (Simple Stories, 2000, etc.) aims to capture the complexity of East Germans’ response to reunification through one man’s transition from police state rebel to capitalist entrepreneur.
The postmodernist author maintains he is merely editing the writings of a disgraced businessman whose post-unification newspaper empire collapsed in the late 1990s. Schulze has “discovered” a series of letters written by Enrico (aka Heinrich) Türmer between January and July of 1990, a period of tumult surrounding the fall of the Berlin Wall. By “publishing” these letters Schulze claims he has created the novel Türmer was not talented enough to write—if this sounds confusing, it is meant to be, in a work complete with random footnotes and an appendix including the fictional Türmer’s fiction and poetry (frankly worth skipping). Türmer’s letters address three disparate readers. To his beloved older sister Vera, who has escaped to the West, Türmer writes as a younger brother, showing his insecurities and concern with family matters—his mother, his stepson, his soon to be ex-wife. To his best friend Johann, he writes man-to-man about his newspaper work in the heady days when an independent press first becomes possible, detailing the politics and business intrigues as an idealist facing business realities. And to Nicoletta, a woman he barely knows (and a blatant literary device), he recalls the everyday reality—tastes, smells, sounds—of his boyhood and young manhood before and during the fall of East Germany. The letters are crammed with details about German politics that assume a familiarity with German history most Americans lack, but anyone who has spent time in a political movement, or in a start-up business, will recognize the comedy of egos with its cast of con men, hangers-on and the occasional genuine talent. For all his comic foolishness, Türmer represents the book’s conflicted heart, asking “What were the ways and means by which the West got inside my brain? And what did it do in there?”
Zaftig.Pub Date: Oct. 24, 2008
ISBN: 978-0-307-26559-3
Page Count: 608
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2008
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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