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UNDONE

A well-machined page-turner that brings some smarts to a touchy subject.

A bestselling author is caught in a web of psychological manipulation, sexual taboo, and financial ruin.

The second novel by veteran magazine writer Colapinto (About the Author, 2001, etc.) is a speedy tale about the personal and professional demolition of Jasper, who’s become a celebrity via a memoir about caring for his wife, who suffered a debilitating stroke while giving birth to their daughter. Elsewhere, 17-year-old Chloe catches Jasper on an Oprah-esque show and immediately recognizes him as somebody her late mother had a brief fling with. Her boyfriend, Dez, who’s hit the skids thanks to his taste in just-underage girls like Chloe, conceives a plot to improve their fortunes: convince Jasper that Chloe is his daughter (though she knows she’s not), have her use her feminine wiles to seduce him, then reap Jasper’s fortune after an incest-rape scandal. Colapinto’s plotting (DNA sample switcheroos, etc.) at times strains credibility, and there are stretches of purple prose. (“Her body was so precariously perched between foal-like childhood and the full, fecund effulgence of erotically charged womanhood.”) But his pacing is expert, and Chloe’s seduction scheme isn’t played solely for titillation—Colapinto means to explore male sexual obsession, from the morality of pornography to the illegality of Dez’s fixation to America’s go-away-a-little-closer attitude toward youthful sexuality and erotic confession. These gray areas aren’t especially gray: Jasper is plainly a wronged victim, and Dez is plainly sadistic. But in the climactic chapters, Colapinto enjoys pushing both men to their extremes, befitting a plot that has echoes of a Greek tragedy. There are enough loose ends to suggest a sequel—Jasper himself wrote a series of Sherlock-ian mysteries before hitting the memoir jackpot. But the novel stands solidly on its own.

A well-machined page-turner that brings some smarts to a touchy subject.

Pub Date: April 12, 2016

ISBN: 978-1-59376-642-9

Page Count: 384

Publisher: Soft Skull Press

Review Posted Online: Jan. 20, 2016

Kirkus Reviews Issue: Feb. 1, 2016

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ANIMAL FARM

A FAIRY STORY

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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THE HANDMAID'S TALE

Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

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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

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