Irreverent humor doesn't compensate for insubstantial characters, nor does some mildly endearing self-deprecation redeem...
A bumbling antihero struggles for a little peace and quiet in the dystopian near future imagined by Knipfel (Noogie’s Time to Shine, 2007, etc.).
Following “the Horribleness,” a mysterious attack in Tupelo, Miss., which has been used by the government as an excuse to wage a pointless war, citizens live under constant surveillance and the fear of being branded as potential terrorists. Corporatization has invaded everything, including (thanks to implants) the skulls of all good citizens. Personal communication devices called “VidLogs” are “more mandatory than pants.” A run-in with a member of the Stroller Brigade, an organization of sadistic mothers who bully childless citizens with razorblade-fitted perambulators, lands Wally on the wrong side of the law. He’s had enough: his loveless marriage, the constant commercials blaring inside his head, the nosy neighbors bent on ratting out nonconformists to the authorities—they all combine to drive Wally to attempt the unthinkable. He removes the implanted chip designed to make him a good citizen, rendering himself for all practical purposes invisible. Through a series of strange coincidences, Wally meets an entrancing hippie and a wisecracking dissident cowboy; they introduce him to a band of subterranean Luddites with designs on taking the world back to simpler, pretechnological, preauthoritarian times. But are the revolutionaries what they claim? Is their work that of true patriots or the criminally insane? Like Wally, readers are constantly befuddled by a surreal landscape, a cartoonish cast and a catalog of corny acronyms: SUCKIE (Single Universe Citizen Identification) cards, “SMEG/MA” (Salacious Materials Enforcement Group Metropolitan Area), etc. Thinly veiled allegories for 9/11, the Patriot Act and other contemporary phenomena bludgeon rather than enlighten. Wally and his merry band of “Unpluggers” drift in an amalgamation of themes borrowed from Orwell, Vonnegut and other masters of dystopian literature toward the inevitably cynical conclusion.
Irreverent humor doesn't compensate for insubstantial characters, nor does some mildly endearing self-deprecation redeem this satire's aimlessness and lack of engagement.Pub Date: April 1, 2009
ISBN: 978-1-4165-9284-6
Page Count: 376
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2009
BOOK REVIEW
BOOK REVIEW
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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
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