A must-read for Brontë aficionados and anyone interested in the lives and concerns of Victorian women.

ROMANCING MISS BRONTË

Novelized biography of Charlotte Brontë, with emphasis on her love life, or lack thereof.

The Brontë sisters’ childhood ended abruptly after their mother’s early death. Unable to cope, their father, an impoverished Yorkshire vicar, consigned his four oldest daughters, Maria, Elizabeth, Charlotte and Emily, to a charity boarding school were they were starved and abused. He rescued them, but only after the two eldest were sent home with consumption, which killed them. Charlotte and Emily enjoy a brief idyll studying French in Brussels, where Charlotte develops a desperate crush on her married professor, from which she will derive Jane Eyre’s infatuation with Mr. Rochester. Back at the parsonage, Charlotte, Emily and youngest sister Anne spend their days sewing, placating Patrick and nursing brother Branwell, who’s straining the family finances with his opium addiction, drinking binges and general dissipation. To raise funds, the sisters begin writing under masculine pseudonyms—Currer, Ellis and Acton Bell. Soon Emily’s Wuthering Heights and Anne’s Agnes Grey are published, followed by Jane Eyre, a runaway bestseller. Sudden success affords only brief respite from the ongoing tragedy stalking the Brontës: Branwell, Anne and Emily will all succumb to consumption within a year. Left alone with the ailing but seemingly indestructible Patrick, Charlotte fails to notice that her father’s curate, Arthur, whose staunch exterior belies his tender heart, is gazing at her longingly. At 38, she’s made uncomfortable peace with spinsterhood, a topic she explores in her next novel, Shirley. Now unmasked, Charlotte is feted by London literati and once more disappointed in love, for her publisher George Smith. Will she realize the romantic possibilities within her grasp? Will she escape Patrick’s possessiveness? Although the narrative hews very closely to the known facts, it is to newcomer Gael’s credit that she not only builds suspense around these questions but also draws a tear when we learn Charlotte’s eventual fate.

A must-read for Brontë aficionados and anyone interested in the lives and concerns of Victorian women.

Pub Date: April 27, 2010

ISBN: 978-0-345-52004-3

Page Count: 420

Publisher: Ballantine

Review Posted Online: April 6, 2011

Kirkus Reviews Issue: Feb. 15, 2010

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Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

THE HANDMAID'S TALE

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

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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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