A vibrant landscape of a family shattered by divorce, letting time and choices bring the pieces back together in moving on or letting go.
Ward’s (Hunger, 2001) second novel begins from the perspective of Jack Manoli, lying on his deathbed in the condo he shares with his much younger second wife, Sylvie. His love for Sylvie, his former-secretary-turned-business-partner-and-wife, is absorbing and passionate enough to have caused Jack to start up an affair many years ago and leave his children, Mark and Shelley, with their unstable mother. Upon Jack’s death, his now-adult children are left to decide what is to become of the Rockport lake house that was Sylvie and Jack’s sanctuary, the foundation where their affair solidified into a life together and the site full of bad memories for Mark, as it was where father and son’s relationship broke apart. For Mark, a pot-smoking mosaic artist, art imitates life; his anger is dangerously bottled up, destroying his relationship with his live-in girlfriend just as he shatters ceramic and glass for his mosaic landscapes. Shelley is a teacher working tirelessly to protect her younger brother and create the family life she never had for her husband and two daughters. She hopes to help Mark find a balance “somewhere in between perfection and devastation” creating a reality “where all the many pieces of us—the pleasant and painful—can be reconfigured into an imperfect but solid-enough life”— something their father also strived to create in choosing Sylvie. Ward fashions characters with rich detail, allowing each to leave a distinct impression. While not always likable (Sylvie comes off as a selfish stepmother at times), they are nonetheless genuine. Building layer upon layer of each family member’s story, Ward shows the complexity of divorce from all sides, even revisiting Jack’s thoughts throughout the book. Mark and Shelley are faced with what to do with the lake house and whether to shed the hurt caused by their father’s choices by making new choices for themselves to gain happiness, peace and, ultimately, freedom. A rich, complex novel that mixes art and life into a story about the decisions that lead to healing or hurt.
Pub Date: March 22, 2011
ISBN: 978-1453860045
Page Count: 349
Publisher: CreateSpace
Review Posted Online: Sept. 7, 2011
Kirkus Reviews Issue: Oct. 1, 2011
Review Program: Kirkus Indie
BOOK REVIEW
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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