There’s a lot of verbal and postmodern high jinks in these 700-plus pages, and they will likely strain anyone’s patience and...
A man with amnesia and $20 million, a well-read venture capitalist adrift after a hot deal, and two drug lord gunmen combine to perform a time-twisting minuet in this big, brainy, trippy, Technicolor noir of a debut.
Take Thomas Pynchon and David Foster Wallace at their densest, some Malcolm Lowry–esque south-of-the-border malevolence and lots of technobabble, financial arcana, and myriad ad hoc drivel sessions—that may start to suggest what Gauer is up to here. The core story is simple, but he breaks it up and reassembles it with two narrative voices, assorted time jumps, a cool shift in point of view, and a compulsion to spin out every basic element across dozens of pages while exploring the outré entries of the English lexicon. It begins with a man waking up in a Guanajuato, Mexico, hotel. He has a bump on his head and no memory of his identity. His wallet tells him he bears the same name as a pseudonym of the early-20th-century Portuguese poet Fernando Pessoa (Gauer is a poet and, not incidentally, a venture capitalist). A local banker tells him he has almost $20 million in his account. When the narrative—covering the week of April 13 to 20 in 2009—shifts to the gunmen, they are assigned by their Shakespeare-quoting boss (“Guy’s like two-thirds Money, one-third Thesaurus”) to comb through El Paso and Juarez for a guy who has a lot of the boss’s money, part of a laundering operation that also somehow entails the VC’s latest hot and dubious deal. It’s only when the VC flies to El Paso and embarks on a phantasmagoric road trip south that key players and plot points begin to coalesce. The closing pages include one horrific scene that unfortunately is later replayed and an epic Mexican standoff that more or less starts with a man citing Ovid, Schopenhauer, and Heidegger within six lines.
There’s a lot of verbal and postmodern high jinks in these 700-plus pages, and they will likely strain anyone’s patience and commitment, but for readers who enjoy this kind of thing, it will be worth the effort.Pub Date: Oct. 11, 2016
ISBN: 978-1-55713-433-2
Page Count: 722
Publisher: Zerogram Press
Review Posted Online: July 31, 2016
Kirkus Reviews Issue: Aug. 15, 2016
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
Too much drama at the end detracts from a finely wrought and subtle conundrum.
Ware (In A Dark, Dark Wood, 2015) offers up a classic “paranoid woman” story with a modern twist in this tense, claustrophobic mystery.
Days before departing on a luxury cruise for work, travel journalist Lo Blacklock is the victim of a break-in. Though unharmed, she ends up locked in her own room for several hours before escaping; as a result, she is unable to sleep. By the time she comes onboard the Aurora, Lo is suffering from severe sleep deprivation and possibly even PTSD, so when she hears a big splash from the cabin next door in the middle of the night, “the kind of splash made by a body hitting water,” she can’t prove to security that anything violent has actually occurred. To make matters stranger, there's no record of any passenger traveling in the cabin next to Lo’s, even though Lo herself saw a woman there and even borrowed makeup from her before the first night’s dinner party. Reeling from her own trauma, and faced with proof that she may have been hallucinating, Lo continues to investigate, aided by her ex-boyfriend Ben (who's also writing about the cruise), fighting desperately to find any shred of evidence that she may be right. The cast of characters, their conversations, and the luxurious but confining setting all echo classic Agatha Christie; in fact, the structure of the mystery itself is an old one: a woman insists murder has occurred, everyone else says she’s crazy. But Lo is no wallflower; she is a strong and determined modern heroine who refuses to doubt the evidence of her own instincts. Despite this successful formula, and a whole lot of slowly unraveling tension, the end is somehow unsatisfying. And the newspaper and social media inserts add little depth.
Too much drama at the end detracts from a finely wrought and subtle conundrum.Pub Date: July 19, 2016
ISBN: 978-1-5011-3293-3
Page Count: 352
Publisher: Scout Press/Simon & Schuster
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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