The late Nobelist's third posthumously published novel (after Scum and The Certificate) was serialized (1981-83) in Yiddish in the Forward newspaper and was titled Lost Souls. But "meshuga" (crazy) is the world where lies were bits of truth, where "no sooner did one free oneself of a neurosis, then another rushed in to take its place," and where God — the novelist? — maybe has a meaning in the works. Singer's following will feel at home: those uptown Broadway cafeterias of the 50's, a sub-shtetl of recent immigrants, nursing coffee and gossip, Manhattan in freezing cold or blazing heat, milling pigeons, the eerie vacancy of skyscrapers. And throughout there is the crazy choreography of uprooted random survivors of the Holocaust, drifting, as here, into odd combinations; and always wry cosmic questions nag: "What does God want? There has to be something He wants." Narrator Aaron Greidinger, writer and radio "advisor" to a Yiddish-speaking following, is stunned to see in large person Max, once patron of the arts in Warsaw, in roaring top form as "the well-known glutton, guzzler, womanizer." Max sweeps Aaron off to meet his 27-year-old lover, Miriam, another camp survivor. The trio achieves a psychic/sexual entity: Max, the elderly "husband, father, lover," considers lovers Aaron and Miriam his children. Aaron, bemused, somewhat horrified, sees "entanglements without exit": Stanley, Miriam's flabby husband, barges in, points a gun (there is a question about God); lovers old and new send signals; Miriam's wartime sex is more serious — and there's worse to come. At the last, after a trip to Israel, and a terrible discovery, Aaron weighs love and obligation in the shadow of a world's "slaughterhouse." Solid representative Singer with speculations light and dark, comic and searing. Manna for his following, who know that wherever Singer touched pen to paper there sprang up a village — of ghosts, of survivors, of all of us.
Pub Date: April 1, 1994
ISBN: 0-374-20847-6
Page Count: 240
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1994
BOOK REVIEW
BOOK REVIEW
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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