Foos effortlessly inserts a humanized sin-eater into the center of a complex, emotionally volatile group of families,...
In Foos' sixth novel, a mysteriously pigmented girl in a small lakeside town serves as the focal point for the unraveling of three families, as told from the perspectives of the women and their daughters who surreptitiously feed the girl moon pies.
Three mothers, Magda, Libby, and Irene, and their respective teenagers, Caroline, Rebecca, and Audrey, are marooned not just in a tourist-reliant lakeside town, but in the stasis of lives unlived: "We kept them close to us on the beach towels and watched them slather themselves in oil." The women's marriages are studies in abandonment, either of the professional variety (Libby's husband, Jeff, who absents himself in order to avoid their autistic, quasi-violent teenage son, Ethan) or the mental one (Irene's husband, Colin, who one day stopped speaking and now throws a nerf ball against the living room walls all day). Rebecca is fooling around with Magda's son, Greg, a liaison the teens think is secret but is known to all. The near-drowning of the town's so-called "Blue Girl" and her subsequent rescue by Audrey breaks the stasis of the families by giving them a fresh outlet for their pity. But how many moon pies can one girl, blue or not, eat? The blue girl never assumes a proper name but instead remains with her moniker throughout the book in order to become a fleshy catalyst for long-repressed pain. With spare prose and a keen ear for the clipped interactions of people in denial ("He slips out of the house in the morning and into the bed at night without a coffee ground in the sink or a crease in the bedspread"), Foos untangles the troublesome knot that binds the families together one kinked strand at a time.
Foos effortlessly inserts a humanized sin-eater into the center of a complex, emotionally volatile group of families, creating a work that is haunting and healing in equal measure.Pub Date: July 14, 2015
ISBN: 978-1-56689-399-2
Page Count: 220
Publisher: Coffee House
Review Posted Online: July 31, 2015
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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