Disreputable lives raised to the level of Literature.
If John Dos Passos were writing today, had been influenced by Irvine Welsh, and had set Manhattan Transfer in Dublin, this might have been the result.
In a grand house outside Dublin lives Fidelma (“Delly”) Roche, widow of pharmaceutical tycoon Daniel Gilmore, who died in mysterious circumstances in a helicopter crash 20 years ago along with Delly’s lover, Frank Cullen, Gilmore’s corporate lieutenant. Now, aging Delly is dying of colon cancer (or is she only being drugged to keep her from finding out what’s happening on her estate?) and is being cared for by Kitty Flood, an obese, somewhat successful novelist and a lesbian, and Roche and Gilmore’s adopted son, Dr. George Addison-Blake, an American left on the doorstep of his namesake hospital as an infant suffering from an incurable disease that Daniel Gilmore’s research later cured. Meanwhile, in town, Joe Kavanagh, a radio talk show host whose wife has left him, taking their daughter, decides to upgrade his show and so instructs his young, gay, horny producer to find more offbeat guests. The sixth member of the ensemble here is the “rent boy” Kevin, whose brief internal monologues punctuate descriptions of the others’ actions and memories, including pornography, drug sales, murder, infidelity, insanity, ménages à trois, and futile attempts at being good neighbors. All are brought together when Barry invites Kevin to appear on Joe’s show, George kidnaps Kevin for his experiments in Gilmore’s underground lair, and Kitty discovers the lair and inadvertently frees Kevin, whereupon Delly finds him wandering about the house and calls the cops. Meanwhile, Barry and Joe have enlisted Kevin’s brother, a tough on the fringes of organized crime, who knows George through his drug and pornography dealing, to help find Kevin. Could all of this have been avoided if Daniel Gilmore had actually invented the memory-erasure drug he was said to be working on when he died? And did he invent it?
Disreputable lives raised to the level of Literature.Pub Date: June 16, 2004
ISBN: 0-312-32769-2
Page Count: 464
Publisher: Dunne/St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2004
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
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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