An okay addition to the food-as-metaphor-for-life genre—if not an inspired debut.
A dumped wife ponders where it all went wrong—and bakes a lot of bread in the process.
Thirty-one-year-old Wynter Morrison had it all, including David, her tall, blond, handsome hubby who didn’t even want her to work (not worthwhile tax-wise, says he). Well, Wynter is ready to give up teaching and play the rich-wife role to the hilt. After all, David’s a marketing whiz and a slave to his high-powered job. But when he suddenly decides to leave the rat race—and her—Wynter just doesn’t believe it. He means business, though, and it’s not long before Wynter is on her way to Seattle to cry on the shoulder of her childhood friend, CM, a cynical beauty and man magnet. CM tells Wynter that she couldn’t possibly have been happy “tooling around L.A. in your sports car and sitting through boring committee meetings and eating artistic little arrangements of sushi for lunch and giving dinners for people you loathe and spending shitloads of money on clothes that don’t even look like you.” Wynter is nonplussed, obviously never having thought much about it. Her biggest problem now is finding gainful employment. Perhaps the bread-baking skills she learned at her student job in France will come in handy? She’s soon up to her elbows in organic flour from the Pike Place Market and mulling things over when the unpleasant reality of divorce begins: Her lawyer wants to know if Wynter’s relationship with CM is, um, entirely platonic and hints that her soon-to-be-ex is likely to cause all sorts of trouble. Her mother insists that Wynter is suffering from clinical depression. But Wynter copes bravely, makes new friends, and finds true love: hunky Mac MacCleod, a vision in plaid flannel and denim. She comes up with loads of swell recipes, too, tucked in here and there for carbohydrate-craving readers who won’t find much meat in this all-too-familiar tale.
An okay addition to the food-as-metaphor-for-life genre—if not an inspired debut.Pub Date: July 10, 2001
ISBN: 0-06-018895-2
Page Count: 368
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2001
BOOK REVIEW
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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