A thoughtful, realistic portrait of uncompromising femininity.



In Thomas’ debut coming-of-age novel, a liberal, headstrong girl lives her life in the conservative South.

Ardor is a young woman determined to live whatever way she pleases. As readers learn through various flashbacks, her childhood home broke when her father ran off with another woman, sending her mother into a series of vacant love affairs that distracted her from her children. The one bright spot in Ardor’s life was her beloved older brother, who served as both corrupter and protector, but even his presence is eventually snatched away. Ardor remains fierce, though, and doesn’t let tragedy stop her from going about her life. She’s well-liked and can make friends with relative ease. She makes lovers with relative ease, too. Ardor has had plenty of flings throughout her young life, causing many in her community to label her a slut, but she takes it all in stride. She never lets the watchful eyes of others stop her from doing what she wants, whether it’s kissing another woman in a committed relationship or sleeping with a married man. With such a long list of vices, it’s little wonder that she’s drawn to nonjudgmental people. Ardor is nonjudgmental herself—unless, of course, someone hurts her or happens to have a value system stricter than hers, in which case, nothing can stop her wrath. She’s not above chewing someone out or lighting a lawn on fire. Readers with a rigid value system may find Ardor’s attitude difficult to swallow at first, but if they can adjust, they’ll be rewarded with a realistic story about the joys and pains of growing up. Along the way, Ardor falls into a typical trap: failing to acknowledge her own judgmental tendencies. Still, it’s a human, realistic fault to have, especially for young people, which highlights the novel’s well-developed coming-of-age motif. Like many young people, Ardor knows everything and lives for the moment. For all the fun she has, however, her life remains quite empty. The vignettes that form the novel’s narrative are somewhat nonchronological, which draws attention to the haphazard, scattered history of lovers who meant nothing. Oddly enough, it’s in the moments she experiences loss that her life seems to hold the most water.

A thoughtful, realistic portrait of uncompromising femininity.

Pub Date: Aug. 31, 2012

ISBN: 978-1477682920

Page Count: 256

Publisher: CreateSpace

Review Posted Online: Oct. 18, 2012

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A welcome literary resurrection that deserves a place alongside Wright’s best-known work.

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A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.

Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.

A welcome literary resurrection that deserves a place alongside Wright’s best-known work.

Pub Date: April 20, 2021

ISBN: 978-1-59853-676-8

Page Count: 240

Publisher: Library of America

Review Posted Online: March 17, 2021

Kirkus Reviews Issue: April 1, 2021

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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

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