Tense, well-imagined stories whose tendencies to unravel mirror the characters they chronicle.
Twenty short stories about people in the muted extremes of ordinary lives.
Jemc’s (The Grip of It, 2017, etc) stories revel in disquiet. Sometimes this uneasiness is the palpable result of external forces, as in “Don’t Let’s,” in which a woman seeking solitude in the aftermath of an assault may or may not be haunted by a boo hag. Sometimes they expand into gleeful expressions of the macabre, as in “Get Back,” an unrepentant litany of gruesome deaths narrated by the succubuslike murderer herself; or in “Strange Loop,” where the ex-con main character, John, “forget[s] the trembling urges he kept in check” through his total immersion in taxidermy. More often, however, the stories nudge up against confrontational situations that they then allow to dissipate. In “Manifest,” Bernadette’s seemingly plot-instigating encounter with a man with “movie-star good looks” in the plastic surgeon’s office is left behind as the story veers toward an exploration of her determined isolation. In the wonderfully eerie “Hunt and Catch,” the multiple perils that accompany Emily’s commute home from work—a stalking dump truck driver; an overly attentive good Samaritan; her own suddenly unreliable perceptions—are left outside her locked door as she attends to the “quiet dark[ness]” of her private life. In “Maulawiyah,” one of the longer and more conventionally structured stories in the collection, Raila is on a mindfulness retreat where her best intentions toward introspection are interrupted by the pitch-perfect Lisa, whose irritating narcissism Jemc chooses to neither elevate into malevolence nor excuse by way of empathetic backstory. Instead Raila and Lisa are allowed to linger in the singular moment of their relationship in a way that resonates for the reader more like a memory of their own discomfort than it does a story aiming toward a purposeful conclusion. Jemc’s insistence on her stories’ rights not to resolve their dilemmas is the thread that binds this book together, though too many similarly disaffected characters make the stories difficult to digest back to back. The result is a collection that will disappoint a reader looking for a tightly controlled narrative arc but delight one willing to learn how these particular stories want to be read.
Tense, well-imagined stories whose tendencies to unravel mirror the characters they chronicle.Pub Date: Oct. 8, 2019
ISBN: 978-0-374-53835-4
Page Count: 240
Publisher: MCD/Farrar, Straus and Giroux
Review Posted Online: July 14, 2019
Kirkus Reviews Issue: Aug. 1, 2019
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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