A jarring book that thrives on its many contradictions.
After a 20-year absence, Lina returns to Medellín in search of the authenticity of her childhood. In a city busy rebuilding itself from the ruins of conflict, what she finds is nothing as simple as atonement.
For decades, Medellín, Colombia, had one of the highest murder rates in the world. Caught at the epicenter of the conflict between FARC guerilla forces, the government-backed paramilitary, and Pablo Escobar’s narco crime wave, the city was so dangerous that citizens were effectively under siege in their own homes and under active attack in the streets. Yet this is also the city Lina called home for the first eight years of her life, until her mother’s violent death, and the place to which she returns when she finds herself adrift at the end of her Ph.D. program in London. Lina seeks out her closest childhood friend, Mattías, with a vague plan of volunteering at the community center he runs in a desperately poor neighborhood. Lina struggles to reconcile her muddled memories of her friend Matty with the intense, edgy Mattías she now meets, but even as the pressure of the childhood secret she keeps begins to overwhelm her, strange occurrences at the Anthill start to mount. Is the sharp-toothed, gray-skinned boy the children see hanging around just another of Medellín’s forgotten street children, or is he something more sinister? Where does Mattías go during his long absences, and what happened to him in the years Lina was gone? Finally, in coming back to Colombia, is Lina doing a service to her city and to the memory of her past life, or is her very presence opening the wounds that have just begun to heal? Pachico’s (The Lucky Ones, 2017) second book continues to assert the young author’s mastery of her chosen landscape. The tension between the residents of Pachico’s vibrant and tormented Medellín and the mission groups, professional volunteers, and poverty tourists is palpable and gets to the heart of one of the area’s primary dilemmas—how to build on a past which cannot be spoken and yet will not be erased. The insertion of a supernatural element in the novel is distracting, however, and too overt a metaphor for the paradoxes more skillfully and subtly asserted by Pachico’s pitch-perfect rendering of Medellín’s many voices as they seek to reconcile their pasts with their futures.
A jarring book that thrives on its many contradictions.Pub Date: May 12, 2020
ISBN: 978-0-385-54589-1
Page Count: 320
Publisher: Doubleday
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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