Tasty but filling: a rich (too rich, perhaps) portrait of a time and a place that have received less than their fair share...
The first of a two-volume portrait of 1970s England, focused here by the prizewinning Coe (The House of Sleep, 1998, etc.) on a circle of four Birmingham schoolmates.
Perhaps it is a delusion to suppose that we write our own histories. The author seems to suggest so by unfolding his narrative from the perspective of the children of two of the protagonists, who meet in Berlin, in 2003, and reminisce about their parents, who were young so long ago, in “a world without mobiles or videos or Playstations or even faxes.” The friends—Phillip, Benjamin, Harding, and Douglas—met at King William’s, a “fucking toff’s academy” in Birmingham, during the dreary decade that brought bad clothes, racial guilt, and good stereo systems to the farthest corners of the Queen’s realm. The early 1970s were dominated by labor strife, the unions taking a final bow and bringing down governments and paralyzing life for everyone with their strikes. Not all of the boys at King William’s are preppie brats, however—Douglas’s father Bill Anderton works at the troubled British Leyland factory—and even their fustiest schoolmasters support the Labour Party. The most reactionary elements in Birmingham, in fact, are to be found farther down the social scale, in those like shop steward Roy Slater (Bill Anderton’s nemesis) and his racist friends from the National Front. Much of the historical background—the wedding of Princess Anne, for example, or the political fall of Enoch Powell—may be unfamiliar to Americans, but the story’s basic outlines (young people discovering the world and following the course of their lives) are amiable and clear. Eventually, the focus becomes the shy Benjamin and his hopeless love for Cicely. There’s a happy ending of sorts, but plenty of questions wait for Part II.
Tasty but filling: a rich (too rich, perhaps) portrait of a time and a place that have received less than their fair share of literary attention.Pub Date: Feb. 26, 2002
ISBN: 0-375-41383-9
Page Count: 432
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2001
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
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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