A languid debut. Haythe has potential, but his inability to distinguish the significant detail from the insignificant makes...
Fresh young love is no match for the Oedipal variety.
Say this for Maureen Garraty: affected and attention-seeking she may be, but she isn’t your conventional gold digger. Two years after marrying Theo, a filthy-rich Floridian, she splits: the very pretty, very animated Maureen claims he’s too dull. In 1972, she decamps to London with her small son Gordon. Her plan, undeterred by a lack of academic credentials, is to write an art guide to great European cities. Throughout the ’70s and ’80s, mother and son crisscross the Continent, Theo, generous to a fault, bankrolling their trips. That Maureen is a dilettante we know already; far more damning, she’s also a lifelong plagiarist, as Gordon, our narrator, finally acknowledges. He doesn’t get much schooling, but Maureen self-servingly buys him a camera so he can document their travels, and his photographic skills land him a job freelancing for discount catalogues. By now Gordon is 19, living alone for the first time, in London. He falls in love with Annie, who works in a deli but has a mind of her own, is older and sexually experienced—unlike still-virgin Gordon. Too often Haythe’s story seems becalmed, but here it picks up a breeze in tracing the nakedness and idealism of first love. The two jump into marriage but delay the honeymoon for a year so Maureen and her new friend Gerhardt can join them at a grand hotel in Venice. The honeymoon turns sour for Gordon once he learns that the Swiss-German Gerhardt is engaged to his mother. His ardor for Annie cools (they make love only once) as his loathing for Gerhardt intensifies: his sexual jealousy is made explicit when he imagines Gerhardt’s “black poisonous fluids.” The climax comes when Maureen stabs Annie’s hand with a fork and Gordon sits idly by. His inaction dooms their marriage.
A languid debut. Haythe has potential, but his inability to distinguish the significant detail from the insignificant makes his vision hazy.Pub Date: April 1, 2004
ISBN: 0-87113-914-6
Page Count: 272
Publisher: Atlantic Monthly
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2003
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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