A riveting and poignant debut of young people facing war.
Newcomer Spencer, awarded the Distinguished Flying Cross and three Air Medals, flew combat planes during WWII—and no one who reads his novel-in-stories will doubt it for a minute.
There’s testosterone at the boil in this tale of kids barely out of adolescence and addicted to risk, violence, and showing off, cocky sky-dragsters dazzled by a sense of invulnerability that’s crazily coexistent with being terrified (“On this morning, as on others, Steve Larkin was half drunk with the sizzle of take off”). But there’s also sheer accomplishment. Without these boys’ heroism, whatever its source, without their dedication and their indestructible disbelief in death, an Allied victory would have been impossible. From the time Stevie Larkin could think, he envisioned himself air-borne, and to him—whatever else it meant—war meant opportunity. In l944, then, 20-year-old Lieutenant Larkin was living his dream—jockeying his beloved P-38 Lightning all over New Guinea and points south, protecting B-24 bombers, dog-fighting Japanese Zeroes. Sensitive and troubled, as well as lethally skilled, he’s the central figure in a cast that’s large, varied, and vividly evoked. There are the aces, for instance, Danovich and Bixby, fiercely competitive, as much at war with each other as with the enemy. There’s Courtenay, with the face of an angel and the heart of Iago. There’s Doc, the flight surgeon, so desperately involved with the men-children in his care that the ultimate crackup is his own. Then there are the women: Addie, the Australian girl widowed much too young and hurt by it beyond repair; and Patsy, the spunky American whose grace and intelligence become the building blocks of Stevie’s redemption. Told in 15 interlocking pieces, Pilots is a story about war and warriors, of course, but also about Stevie Larkin’s harrowing coming-of-age.
A riveting and poignant debut of young people facing war.Pub Date: Feb. 10, 2003
ISBN: 0-399-14973-X
Page Count: 288
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2002
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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