Thai’s voice establishes all the depth of character there is here, the supporting cast existing mainly to prompt him toward...
Minus the hip-hop window-dressing and sprinklings of rap names, Jasper’s debut is only a desultory rendering of a young man’s journey to maturity.
Nineteen-year-old Thai Williams—the brightest among his friends—passes his days in school, on his job, and hanging with his friends in the Shaw neighborhood of Washington, D.C. Then one day he walks in on his girlfriend grinding it out with a stranger named Nick, whom he later catches up with at a party. While he’s chasing Nick, a gun ends up in Thai’s hands, goes off, and a bullet lodges in Nick’s skull. Believing himself a felon on the run, Thai lights out for Charlotte, North Carolina, where he lays low with Enrique (“E”). From the old neighborhood, E has made an enviable new start: he has a job with his mother in real estate, a sweet periwinkle Jeep, and a “rich girl” who respects herself. After some time with E, Thai ends up partying with white people—they’re unexpectedly friendly—befriending a troubled girl named Alicia, and making occasional love with neighboring flight attendant Robin. Alicia, recently through an abortion, is still tangled up with a mean boyfriend who unsurprisingly clobbers Thai a couple of times in warning. Robin, meanwhile, encourages Thai to be his own man. E’s mother, whose business is thriving, even offers him a job and the chance to enter college. What’s not to like? Yet Thai comes to understand that in his previous environment, his irresponsible friends in effect conditioned him to murder Nick. So he goes to church, gets right with God and his father, learns some truths about his past, and heads back home to clean things up in D.C. before going on to whatever next stage in his life may follow.
Thai’s voice establishes all the depth of character there is here, the supporting cast existing mainly to prompt him toward his next insight. Still, this 25-year-old author shows a talent that could blossom in another, more challenging, book.Pub Date: June 12, 2001
ISBN: 0-7679-0707-8
Page Count: 256
Publisher: Broadway
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2001
BOOK REVIEW
BOOK REVIEW
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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