An entertaining but shallow spin on a Southern Gothic.
Ghosts, more figurative that literal, haunt Jackson’s third novel (Between, Georgia, 2006, etc.).
Laurel, who makes artistic quilts, and her computer geek husband, David, live with their 13-year-old daughter Shelby in Victorianna, a gated community in South Georgia near the Alabama line. One night, Laurel sees/dreams about the ghost of Shelby’s best friend Molly, who is dripping wet. Laurel watches as Molly passes through her bedroom window and sinks to the bottom of Laurel’s swimming pool. Laurel wakes screaming. In fact, Molly has drowned in what the police rule an accident. But Laurel has suspicions about a creepy neighbor. She is also terrified Shelby is somehow involved although Shelby swears she was asleep, as was her cousin Bet. Bet has been visiting for the summer, Laurel’s pet charity case from the trailer-trash town that Laurel’s mother escaped through marriage years ago. Using Bet’s pathetic need for affection, Laurel pulls worrisome information from her and begins to track the truth about Molly’s death. Lovably Aspergish David can’t help, and Laurel’s mother pretends never to see ugly truths, so Laurel, who has her own difficulty disturbing decorum, turns to her older sister Thalia, an actress who likes to live on the edge and has always found both Laurel’s life in Victorianna and her marriage stultifying. With Thalia around, cracks begin to appear on the surface of Laurel’s ever-so-controlled life. Thalia forces Laurel to confront problems in her marriage and to realize that the death of her Uncle Marty, her first “ghost,” was not what it seemed. Laurel is meant to be the heroine but she’s such a dolt, readers may not feel she deserves her happy ending after jumping to conclusions that turn out dangerously wrong. The tragic figure, Bet, gets short shrift, as if Jackson doesn’t quite know what to do with her.
An entertaining but shallow spin on a Southern Gothic.Pub Date: March 4, 2008
ISBN: 978-0-446-57965-0
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2008
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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