Gardner's belief in the primacy of tale-telling (see Moral Fiction) is so firm that he doesn't mind telling us that this tale isn't exactly his own: "A key event in Freddy's Book (King Gustav and the Devil) is drawn from a tale in Mark Helprin's collection, A Dove of the East and Other Stories," explains the prefatory note. And "numerous passages here are drawn, slightly altered, from other sources." Well, what's here may not be original, yet it is nonetheless, for all the expropriating, very much Gardner—disingenuous, didactic, well-worded but flat. A specialist in psycho-history named Winesap comes to lecture at the university in Madison, Wisconsin, and while there is apprehended and invited to dinner by a spooky old Scandinavianist, Professor Agaard, who wants Winesap to meet his son Freddy—who, Agaard calmly says, is "a monster." And so Freddy is, as Winesap discovers when, on a snowy night, he makes it to the house to meet him: twelve years old, "big as a rhinoceros, a small elephant" with eyes "red-rimmed, huge behind gold-rimmed glasses. . . childish pink lips" (a wonderful description and perhaps a Gardner self-portrait). Freddy lives pent up in a too-small room, reading books, writing them too, and Winesap (along with the hapless reader) gets to sample one of these Freddy-authored books: "King Gustav and the Devil," a heavy-going allegory about Lars-Goren Bergquist, an eight-foot-tall knight in 16th-century Sweden, who helps his cousin Gustav Vasa to assume the throne and then goes out on quest to destroy the Devil. The St. George-and-the-Dragon motif here is not hidden, and the road is bricked with all of Gardner's by now familiar pet peeves: organized religion, writers like William Gass ("He concentrated on the idea of Bishop Brask, cut off from heaven by boredom and despair, a man who no longer had feeling for anything except, perhaps, style"), philosophical relativism, and literature's city slickers: "Great cities rise, artists grow wealthy, their vision grows confused and complex. What a pity! Irony comes in. Paradox. Soon the only powerful emotions artists feel is nihilism." One would have hoped that Gardner had gotten his preaching and feuding out of his system with Moral Fiction—not so, alas. Here his lumbering counterattacks and homilies pummel away whatever surface charms the story has, making this a stiff little diversion (illustrated by Daniel Biamonte) of interest mainly to tireless observers of book-world bickering.
Pub Date: March 1, 1980
ISBN: 1893996840
Page Count: 216
Publisher: Knopf
Review Posted Online: March 29, 2012
Kirkus Reviews Issue: March 1, 1980
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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