A moody exploration of bleak wartime Britain.

THE ANIMALS AT LOCKWOOD MANOR

Healey looks back fondly at the tradition of spooky English country-house fiction while adding a few twists of her own.

With more than a few nods to Jane Eyre and Rebecca, this debut novel throws an awkward but stalwart heroine into a decaying house with history and mystery to spare. Friendless Hetty Cartright has found a home working among the stuffed specimens at a major natural history museum in London. When, in 1939, the museum decides to farm out its collection to houses in the countryside in order to avoid their destruction in the anticipated bombing of the city, Hetty is assigned to guard the stuffed mammals in their temporary home at Lockwood Manor. The decaying manor, ruled by the imperious and lascivious Lord Lockwood, has “four floors, six flights of stairs, and ninety-two rooms,” some with resident ghosts, and Hetty soon has her hands full attempting to protect the animals, some of which disappear and many of which she finds in disconcerting new spots. Scorned by the household staff, Hetty finds an ally in Lord Lockwood's sensitive, unstable daughter, Lucy, who narrates the portions of the novel that Hetty doesn't. As the two become closer and face their individual fears and insecurities, the peril of the house amps up, culminating in a disastrous party. While Healey sometimes lays on the atmospheric menace with a heavy hand, especially considering how light on action the novel actually is, and though she ties up her plot threads in a few hasty pages, her depictions of the historical period and of the dread of anticipating full-scale war are vivid. The animals, frozen in place and unable to defend themselves either against the encroaching Germans or the more immediate dangers of the live animals and insects that want to devour them, mirror the plight of the women caught in Lockwood Manor.

A moody exploration of bleak wartime Britain.

Pub Date: March 10, 2020

ISBN: 978-0-358-10640-1

Page Count: 352

Publisher: Houghton Mifflin Harcourt

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

THE HANDMAID'S TALE

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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ANIMAL FARM

A FAIRY STORY

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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