Bottom-line survival competes hard against issues of loyalty, friendship, and family in this disturbing, sometimes-ugly...
Criminals, lowlifes, and losers—many of them also quixotic romantics—people Harper’s first collection of short stories, which are set mostly in the Ozarks with side trips to cities like Brooklyn, Los Angeles, and Detroit.
In the opener, “Agua Dulce,” a meth addict’s debt comes due and he realizes how far he’ll go to protect his child from his merciless dealer and his cronies in Aryan Steel, a group that makes the Aryan Nation look mild. Ironically, in a later story, “Heart Check,” a new prison inmate and Steel wannabe, recently convicted of killing a child, discovers that he may have misunderstood the Steel code. But in none of these stories is the moral code exactly mainstream, from “Prove It All Night,” about a 17-year-old Missouri girl whose robbery spree with her older boyfriend ends badly for him, to “Lucy in the Pit,” about a fight-dog trainer whose loyalty to a dog is tested by the animal's owner, to “Your Finest Moment,” about a policeman plotting revenge on a fellow cop he’s caught in bed with his girlfriend. Bar owner and retired rural gangster Jackie Blue is a minor character in the almost comic “I Wish They Never Named Him Mad Dog,” in which a nickname turns a loser into a tough into a dead body, and takes center stage in “Red Hair and Black Leather” when an enticing young woman asks for his protection against her biker ex; Blue may be old but he’s smarter and tougher than any other character in the book. Certainly smarter than the narrator of the title story, who sets a dog on his loved one, already bleeding to death from a bullet wound after a botched robbery, in order to save him. “Beautiful Trash” is set in a different but perhaps even more morally bankrupt milieu, celebrity-strewn LA, where covering up the stars’ dirty scandals is a business that can ruin more ordinary lives.
Bottom-line survival competes hard against issues of loyalty, friendship, and family in this disturbing, sometimes-ugly version of reality.Pub Date: July 7, 2015
ISBN: 978-0-06-239438-5
Page Count: 176
Publisher: Ecco/HarperCollins
Review Posted Online: April 14, 2015
Kirkus Reviews Issue: May 1, 2015
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
It's being called a novel, but it is more a hybrid: short-stories/essays/confessions about the Vietnam War—the subject that O'Brien reasonably comes back to with every book. Some of these stories/memoirs are very good in their starkness and factualness: the title piece, about what a foot soldier actually has on him (weights included) at any given time, lends a palpability that makes the emotional freight (fear, horror, guilt) correspond superbly. Maybe the most moving piece here is "On The Rainy River," about a draftee's ambivalence about going, and how he decided to go: "I would go to war—I would kill and maybe die—because I was embarrassed not to." But so much else is so structurally coy that real effects are muted and disadvantaged: O'Brien is writing a book more about earnestness than about war, and the peekaboos of this isn't really me but of course it truly is serve no true purpose. They make this an annoyingly arty book, hiding more than not behind Hemingwayesque time-signatures and puerile repetitions about war (and memory and everything else, for that matter) being hell and heaven both. A disappointment.
Pub Date: March 28, 1990
ISBN: 0618706410
Page Count: 256
Publisher: Houghton Mifflin
Review Posted Online: Oct. 2, 2011
Kirkus Reviews Issue: Feb. 15, 1990
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