Dumb fun, smartly imagined.
A blogger-slash-whaler goes hunting for his prey in the Caribbean—where the waters are shark-infested, the crew is always on the verge of mutiny and absurd plot twists arrive with every other paragraph.
Thomson’s raucous comedy of errors is the tale of Gus Openshaw, a worker at a cat-food cannery who spends his summer hot on the trail of the “blubbery bastard” who swallowed his wife, child and right arm. Openshaw obsessively details his pursuit on his blog, and he’s a little surprised to learn that his readership knows of other obsessive, one-limbed whalers. (“I’ve been calling [the whale] ‘Dickhead,’ ” he writes. “Everybody always laughs and says that’s a witty reference. Hell if I know why.”) Joining him on the trip are a short-tempered, murderous cook, a deckhand who’s addicted to hull cleaner, the appropriately named Stupid George (who at one point heaves a harpoon handle-first) and Flarq, a Queequeg-like deckhand who draws “scrimshaws” of the events in the story (illustrations appear throughout). Thomson constantly subverts the narrative by concocting increasingly ridiculous turns of events—Openshaw’s sued for libeling Dickhead on his blog, after which he falls for the Princess of Whales, the ruler of a small whale-worshipping island who, in turn, happens to work for a black-market arms dealer who appears at crucial moments with, say, a prosthetic arm, or an F-15 fighter jet. Yet Thomson never loses his grip on the plot—he works hard to make the story hang together logically; the brief, blog-length chapters, meanwhile, keep the jokes punchy and entertaining. If Moby-Dick was a richly symbolic work about the whole of human experience, this is just an assortment of riffs on adventure tales, love stories and human idiocy in general. Thomson is no Melville, but there’s no question who’s the better gag-writer.
Dumb fun, smartly imagined.Pub Date: March 24, 2006
ISBN: 1-59692-172-2
Page Count: 260
Publisher: MacAdam/Cage
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2006
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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