The measured prose and care for detail show a promising talent, but the overscripted characters’ lives feel more literary...
Haigh’s perhaps too-carefully orchestrated debut tells the elusive story of one man from the perspectives of the three women he woos, marries, and disappoints.
In 1969, Ken Kimble, chaplain at a Virginia college, deserts his wife Birdie and their two small children. Birdie, a southern magnolia without the steel who’d dropped out of Bible college to marry Ken seven years earlier, is unable to cope and slips into alcoholism. Meanwhile, after a stint of hippie-style wandering, Ken ends up in Florida, where he takes up with Joan. Having recently undergone a mastectomy, the 39-year-old career-driven Jewish journalist from New York feels newly vulnerable and lonely. She never questions the vague nature of Ken’s past or his claim to have a Jewish mother. After their marriage, Ken enters the real-estate business under the patronage of Joan’s uncle, while Joan tries to have a baby despite her doctor’s warning that pregnancy could spur a recurrence of cancer. She suffers a miscarriage, then blames herself for a disastrous visit from Ken’s children during which workaholic Ken shows minimal interest in them. Soon Ken finds himself a widower. In 1979, now a real-estate tycoon in Washington, D.C., Ken rediscovers Dinah, his children’s babysitter back in his Virginia days. An aspiring chef, Dinah, whose sense of self has been marred by facial disfigurement since birth, remembers a moment of genuine kindness she received from Ken during her painful adolescence. After he pays for an operation to remove her birthmark, the much younger Dinah becomes his suddenly beautiful third wife. Fifteen years later, they have a troubled adolescent son and a loveless marriage. But Dinah is stronger than Ken’s previous two wives. She not only survives and prospers after his final disappearing act, but provides solace for all three of his troubled children.
The measured prose and care for detail show a promising talent, but the overscripted characters’ lives feel more literary than lived.Pub Date: Feb. 18, 2003
ISBN: 0-06-050939-2
Page Count: 400
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 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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