Three original, droll, startling tales of horror in academia, by the author of the novel The Wild Colonial Boy (1990). Things go disastrously wrong for the very matter-of-fact academics who inhabit Hynes's world. The hero of ``Queen of the Jungle,'' a middle-aged professor in Iowa whose contract is about to run out, is a good example. Married to a tenure-track wife who commutes four days a week to her job in Chicago, he putters about haplessly in the sticks, writing a study of popular culture—``My (M)other the Car: Difference and Memory in Matriarchal Narrative''— and sleeping with one of his graduate students. He's content to let things go on in this fashion indefinitely, and they probably would, but for his wife's preternaturally devious cat: Ever since he brought his mistress into the house, it seems, the cat has harbored some plan of revenge in her feline mind, and she succeeds in finally exposing him to his wife as the fraud that he is. ``99'' is a classic innocents-abroad tale, in which an American anthropologist traveling in England discovers, to his delight, an ancient Druidic cult in a remote village. Giddy with excitement at the thought of the fame he can command with his findings, he doesn't realize until the very end that he's learned a bit too much about human sacrifice for his own good. ``Casting the Runes'' offers another comic and original variation on the theme of revenge. A put-upon historian sets out to expose a colleague as a plagiarist—and discovers that there is a more malign (and occult) explanation for his actions than she would ever have surmised. Witty and penetrating: Hynes creates pungent satires of academic life while at the same time infusing them with genuine suspense and real terror.
Pub Date: June 9, 1997
ISBN: 0-312-15628-6
Page Count: 352
Publisher: Picador
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1997
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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