Thayer’s twelfth (after Force 12, 2001, etc.) solidifies his reputation as an elegant stylist and presents complex issues...
Sophisticated story of East/West manners and politics, with a Maugham-like narrator.
In Hong Kong, Clay Williams is security chief for construction of a new skyscraper known colloquially as “The Golden Swan.” Recently estranged from his wife and retired from the FBI, stoic narrator Clay gets respite via quarterly visits from his father Alan, a retired orchardist and workaholic. The man behind the Swan is star architect John Llewellyn, whose charisma and notoriety bring the cachet the Chinese government wants. Llewellyn’s amanuensis and paramour Anne Iverson, who regularly blocks access to her boss, has made a special project of finding a mate for Clay, though her own sexual chemistry with him is apparent. When Alan dies in a fall from Clay’s apartment window, police posit suicide while Clay knows it was murder. Confirmation comes from a surprising source when frightened teenager Soong Chan buttonholes Clay and explains that Hsu Shui-ban, grandson of Wen Quichin (the elderly head of the criminal triad 88K) and one of Clay’s neighbors, was kidnapped from the building on the night in question, witnessed by Alan. Wen Quichin politely abducts Clay and shows him a grainy video of the execution of the rival triad member who killed both Hsu and Alan. Reflections on dad and on the unusual resolution of his murder bleed into Clay’s handling of a crisis in the Llewellyn camp when Yao Bok-kee, the magnate who supervised feasibility studies of the Swan and acted as intermediary between Llewellyn and the Chinese government, is arrested for graft—and quickly executed. Worse, the Swan, Llewellyn’s masterpiece and intended legacy, is leaning. It falls to Clay and Ann to get to the bottom of the Swan’s feet of clay while avoiding a clutch of Chinese who may be trying either to help or kill them.
Thayer’s twelfth (after Force 12, 2001, etc.) solidifies his reputation as an elegant stylist and presents complex issues with haunting lucidity.Pub Date: Nov. 6, 2002
ISBN: 0-684-86286-7
Page Count: 352
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 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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