A brilliant novel about a young man’s reckoning with a flawed and violent world.
An American-born son of Iranian immigrants becomes radicalized.
Rez Courdee is the son of well-to-do Iranian immigrants. His father is strict, his mother retiring. Rez performs well at his private Southern California high school. At first, Rez is a “typical” American teenager, blissfully numbing himself with surfing and drugs to the complexities of his life and world. But after the Boston Marathon and another massacre closer to home, Rez can’t ignore the fact that he is treated with suspicion and prejudice by the same white community with which he has spent his entire life. Khadivi’s (The Walking, 2013, etc.) latest novel is the story of a young man’s gradual radicalization. A filmmaker as well as a writer, Khadivi is a massive talent, lyrical, evocative, and unsparing. Her latest work completes a loose trilogy of novels that traces a line of genealogy down from Rez’s grandfather to his father to himself. But Rez’s story stands on its own. His radicalization takes place gradually, the result of a countless number of small intertwining factors rather than one overwhelming reason. That makes Rez’s journey believable, his psychological transition vivid and real. You’ll sympathize with Rez even as you find yourself devastated by his ultimate choices. Khadivi’s feat is a crucial one, especially at this moment in time, when young Muslim men are dehumanized by white Americans far more often than they are understood to be complicated, and individual, human beings. The book has only two small flaws. The first is that, though there is brief mention early on that Rez has a sister, she is never seen or heard from again. The second flaw, if it is a flaw, is one that afflicts all books, everywhere, and that is that the story, finally, must come to an end. You won't want the book to end. You will want to follow Rez. You will want to hear what happens next.
A brilliant novel about a young man’s reckoning with a flawed and violent world.Pub Date: May 23, 2017
ISBN: 978-1-63286-584-7
Page Count: 256
Publisher: Bloomsbury
Review Posted Online: March 6, 2017
Kirkus Reviews Issue: March 15, 2017
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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