With an expert eye, Stone finds valuable insights in the mundane bits and pieces of everyday life and generously shares them...
This perceptive collection of connected short stories from an accomplished critic muses on love and loss, home and hope, betrayal and belonging, and the way life and other people continually surprise us.
Treasures lost and found. The ways kinship and kindness can arrive unexpectedly. The bits and baubles—and the people and animals—that pass through our lives, belonging to us and offering us a sense of belonging only for a time. These are among the themes Stone (Laughing in the Dark, 1997, etc.), who won the 1995 National Book Critics Circle citation for excellence in criticism, returns to in her interlinked stories, which, though categorized as fiction, read like memoir. The women who narrate Stone’s stories (or perhaps there is just one) find connection and insight in unlikely places—at yard sales, on walks, even on a bus or at the post office. “At yard sales, you carry away a little of the person, and they are left with your expression as you gazed with admiration at something that was theirs,” the narrator of “Yard Sale” observes, later musing that what she learns from her encounters with people while picking through the possessions they have shed “is how easily I fall in love with strangers and what they are willing to reveal.” Stone’s narrators—whose terrain includes artist colonies, rent-controlled New York apartments, and the exotic Arizona landscape—continually fall in love with strangers, drawn to the musicality in a young mother’s voice (“Kolkata”), say, or the sylphlike look of a shopkeeper (“Ring”). They can coax a smile from the surly (“Hallmark”) or an embrace from—of all people—a postal worker (“Happiness”). They seek a sense of home and a grasp of history, mourn betrayals and losses, welcome attraction, companionship, and the sense of being known.
With an expert eye, Stone finds valuable insights in the mundane bits and pieces of everyday life and generously shares them with her readers.Pub Date: Oct. 15, 2016
ISBN: 978-0-8101-3428-7
Page Count: 224
Publisher: TriQuarterly/Northwestern Univ.
Review Posted Online: Aug. 8, 2016
Kirkus Reviews Issue: Sept. 1, 2016
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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