A rumination on love and loss, faith in reason and faith in the divine.
In her fourth novel, Grodstein (A Friend of the Family, 2009, etc.) writes of loss of love and belief.
Andy Waite’s a biology professor at Exton Reed, "eleven hundred students and forty-two acres of crumbling quad hidden at the ass end of New Jersey." Andy loves teaching a class entitled "There Is No God," a Darwinian homage. Andy’s mentor was a notorious Richard Dawkins–like professor, Hank Rosenblum. But Andy’s morose; his wife, Louisa, was killed by a drunken driver. He does have two precocious daughters, and tenure’s imminent, and there’s a possible National Science Foundation grant, one related to studies about alcohol and the brain. Louisa’s death explains his research, but nothing rational explains his agreement to mentor Melissa Potter’s independent study: an objectivist argument for intelligent design. Images of Louisa linger as Andy interacts with Sheila, divorced neighbor and recovering alcoholic. As his emotional relationship with Melissa skates toward intimacy, Andy is plagued by doubts—over his project’s validity after befriending Sheila; over his unbending opposition to parole for the young driver who killed Louisa; and over his rigidity as Melissa’s warmth and generosity make real the power of spiritual belief. Rather than offering the works of St. Augustine or C.S. Lewis as rationalizations for belief, Grodstein offers the homilies of a fictional local pastor; it's a bit of an easier road, but her narrative sparkles with irony and wry observation. A fundamentalist student, Andy’s vocal opponent, loses his faith. Rosenblum’s overbearing prodding of a brilliant student who rejects science for marriage to a pastor results in her suicide. As the possibility of the divine sparks emotions Andy cannot comprehend, he learns he’s caught up in another person’s experiment. A college professor, Grodstein is perfect with her description of campus tremors radiating after a colleague strays from conventional wisdom. While Melissa’s motivations and actions are sometimes contradictory and counterintuitive, Grodstein’s portrait of Andy is spot-on, as is that of the evangelical student, Sheila, Rosenblum and the minor characters.
A rumination on love and loss, faith in reason and faith in the divine.Pub Date: Sept. 3, 2013
ISBN: 978-1-61620-112-8
Page Count: 352
Publisher: Algonquin
Review Posted Online: Aug. 30, 2013
Kirkus Reviews Issue: Sept. 15, 2013
BOOK REVIEW
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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