Ambitious and epic exploration of the idea that love conquers all.
In his third novel, Ofek (Shauna’s Elements, 2008, etc.) explores a clash of cultures when country meets city via an unlikely love affair.
Despite his upbringing on a Midwestern farm, young Jordan River hikes up his overalls, says goodbye to his inherited role as a sodbuster and beats a trail to Boston to attend medical school. Though his parents don’t understand his passion to play the sax, nor his practical ambition to become a cardiologist, they accept his decisions with little fanfare. Amid grueling pre-med studies, Jordan jams twice a month with a motley group of trained jazz musicians who eventually become a hit with Boston University’s student body. Enter Patricia Winthrop, a sassy, upscale Bostonian keyboard player, feminist and chem student who drops into the band–soon becoming its leader and Jordan’s wife. As the protagonist submerges into his all-consuming medical internship, his wife, six years older than him, discovers her calling in the world of poetry, a subject that he finds boring. Years pass, and a rupture in the relationship ensues as Patricia falls for a literature teacher, poet and charmer named Bruce Anderson, whose life goal is to meet the poet Allen Ginsberg. The affair leads to a separation, then divorce, as country-boy-turned-heart-surgeon Jordan and the worldly Patricia fail to evolve together. Eventually, a disillusioned Patricia has an epiphany after swallowing an entire bottle of Valium, which eclipses with Jordan’s epiphany, reached during a trip to Russia to meet his new girlfriend Katrina. Will Winthrop and Rivers reunite? Written from Jordan’s point of view, this novel spans almost two decades while following a roller-coaster relationship that probably never should have occurred. The book tries to cover a tremendous amount of linear territory, resulting in big leaps in time, but it lacks the necessary character development to hide the seams. Flaws detract from the novel’s believability, like Jordan and Patricia’s band having a popular website in the very early ’90s, when the Internet was nascent. Still, the author’s graceful prose–and the world experience that he sprinkles throughout the volume–will keep readers turning pages.
Ambitious and epic exploration of the idea that love conquers all.Pub Date: Jan. 21, 2009
ISBN: 978-1-4392-0106-0
Page Count: -
Publisher: N/A
Review Posted Online: May 23, 2010
Review Program: Kirkus Indie
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
Too much drama at the end detracts from a finely wrought and subtle conundrum.
Ware (In A Dark, Dark Wood, 2015) offers up a classic “paranoid woman” story with a modern twist in this tense, claustrophobic mystery.
Days before departing on a luxury cruise for work, travel journalist Lo Blacklock is the victim of a break-in. Though unharmed, she ends up locked in her own room for several hours before escaping; as a result, she is unable to sleep. By the time she comes onboard the Aurora, Lo is suffering from severe sleep deprivation and possibly even PTSD, so when she hears a big splash from the cabin next door in the middle of the night, “the kind of splash made by a body hitting water,” she can’t prove to security that anything violent has actually occurred. To make matters stranger, there's no record of any passenger traveling in the cabin next to Lo’s, even though Lo herself saw a woman there and even borrowed makeup from her before the first night’s dinner party. Reeling from her own trauma, and faced with proof that she may have been hallucinating, Lo continues to investigate, aided by her ex-boyfriend Ben (who's also writing about the cruise), fighting desperately to find any shred of evidence that she may be right. The cast of characters, their conversations, and the luxurious but confining setting all echo classic Agatha Christie; in fact, the structure of the mystery itself is an old one: a woman insists murder has occurred, everyone else says she’s crazy. But Lo is no wallflower; she is a strong and determined modern heroine who refuses to doubt the evidence of her own instincts. Despite this successful formula, and a whole lot of slowly unraveling tension, the end is somehow unsatisfying. And the newspaper and social media inserts add little depth.
Too much drama at the end detracts from a finely wrought and subtle conundrum.Pub Date: July 19, 2016
ISBN: 978-1-5011-3293-3
Page Count: 352
Publisher: Scout Press/Simon & Schuster
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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