A familiar plot gets a sharp millennial makeover.
A directionless grad student finds himself at the center of a bisexual love triangle in debut novelist Gregor’s charmingly melancholy Brooklyn rom-com.
At 29, Richard’s life seems to be in a state of suspended animation. He’s supposed to be finishing a Ph.D. in medieval Italian literature, except that he hasn’t actually written much of anything in months. As a result, “all his efforts at maintaining a long-cultivated identity of academic competence and dependable accomplishment had taken on an air of pointlessness.” (Also, his funding is in danger.) His personal life isn’t faring much better. Dating, in New York, is an endless stream of profiles and messages and drinks and promises to be in touch after and very few actual relationships. And it is a combination of these two factors—Richard’s general loneliness and specific state of acute academic crisis—that leads him to forge an increasingly complicated relationship with Anne, a fellow doctoral student. Brilliant, rich, and clearly attracted to Richard despite the ongoing obstacle of his being gay, Anne offers to help him salvage his academic career, and in the process, their relationship intensifies into something more. And then, on a dating app, Richard meets Blake, and if their romance gets off to a rocky start, it quickly mellows into a serious relationship. On paper, at least, Blake is perfect: a kind, successful lawyer ready to build a future with Richard. Except that Richard is also involved with Anne, who is sensitive and hyperanalytical and—for reasons that defy rational explanation but make intuitive sense—accepts him completely. Of course, per the rules of the genre, Richard’s double life must come crashing down, which it does, spectacularly, leaving him to begin the process of addressing the general state of his life. A deeply kind novel—all three characters are rich and complicated and human—Gregor’s plot is less interesting than his biting observations of modern urban life. (He’s especially good on the complicated dynamics of money; it's rare to find a novel that so accurately captures the constant, low-grade anxiety around who can afford what.)
A familiar plot gets a sharp millennial makeover.Pub Date: Aug. 20, 2019
ISBN: 978-1-9821-0319-4
Page Count: 352
Publisher: Simon & Schuster
Review Posted Online: May 26, 2019
Kirkus Reviews Issue: June 15, 2019
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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