Cossé’s 2003 novel has been admirably translated, and the psychological issues she raises are telling and true.
The “accident” in the title refers to the Paris crash that killed Princess Diana, but Cossé takes the unusual step of imagining the life of a woman who was putatively involved.
Louise Origan is living a life, if not of quiet desperation, then at least of self-questioning, but her life is changed dramatically when, on a night in late August 1997, a Mercedes traveling at a high rate of speed grazes her Fiat Uno and leaves her shaken. The next morning she’s even more unnerved when she discovers that the Mercedes had crashed in the Pont de l’Alma and created a media frenzy. It’s reported that a “slow-moving white Fiat Uno” had been in the vicinity of the crash, and authorities (as well as sharklike journalists) are eager to find the owner. Louise knows she doesn’t want to be involved, so she takes her car across Paris to be fixed and leaves a false name at the garage. Even after she picks the car up, she considers ditching it (literally) and leaving her flat for a while, but then the sleazy mechanic shows up with a proposal—telling her story to Paris Match for one million francs and splitting the proceeds. To ensure this happening, he kidnaps her, but she escapes, committing a serious crime in the process. Then her life becomes peripatetic, as she roams from hotel to hotel and changes her look (ironically morphing into a Diana look-alike), still haunted by the possibility that her secret will be found out. The ultimate irony plays out when she discovers that she’s one of a long line of Fiat “owners” who have wished to insinuate themselves into the pop-culture drama.
Cossé’s 2003 novel has been admirably translated, and the psychological issues she raises are telling and true.Pub Date: Aug. 30, 2011
ISBN: 978-1-60945-049-6
Page Count: 208
Publisher: Europa Editions
Review Posted Online: July 26, 2011
Kirkus Reviews Issue: Aug. 15, 2011
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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