G. as anonymously archetypal as the use of the initial suggests, is the novel or rather anti-novel of the prominent British art critic and Marxist humanist. Berger is a man of bold and profligate talents and the work which is equally diverse (philosophical, social, moral) is capable of many readings. Superficially — a dangerous trap indeed — it is an almost contemporary retelling of the Don Juan myth. The book doses on the eve of World War I. G. is the illegitimate son of a gross merchant of Livorno and a fragile and uncertain Englishwoman whom he cannot marry. She takes the child back to England where before long he is abandoned to the care of others and after early episodes of sexual initiation (a governess, a tutor, his surrogate mother) becomes (in retaliation or because he has no other roots?) a womanizer. In his pursuit of the wife of a Parisian car manufacturer, the didactic eroticism leads to far broader-ranging speculation on the inseparability of romantic love and sexuality — on the act of submission which is again the bestowal of freedom and on sex as an equivalent of death — that familiar little death which is so "absurdly short-lived." Death encroaches more and more as the novel reaches its final inset in Trieste where G. becomes the circumstantial whim of the events taking place all around him; ahistorical, apolitical, he is used and betrayed by just those historical and political forces and only in dying perhaps achieves the answer to the lack of identity imposed on him since the beginning. Paradox abounds throughout the novel which Berger annotates with epigrammatic asides ("The writer's desire to finish is fatal to the truth") or evasive ones ("Yet we know there is a mystery. . . . I am writing this book in the same dark"). As for the rest, his style is aggressively visual and animated by its inexorable present tense. Ultimately (and ignoring the common reader whom it will defeat) it is an arresting, inordinately vital, impersonal, and remarkable work.
Pub Date: Sept. 8, 1972
ISBN: 0679736549
Page Count: -
Publisher: Viking
Review Posted Online: Sept. 19, 2011
Kirkus Reviews Issue: Sept. 1, 1972
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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