Like the better aspects of living theater, the author has turned the everyday into something deep and achingly soulful.
Three female friends experience sea changes of tsunami proportions in this novel of love’s strange ways.
Nothing has come easy for Aleaha. Raised in a hard, urban environment with few resources other than its fortitudinous women, she nonetheless has the gift: born with a "veil," she has a special sense, like her grandmother, and can hear spirits. But while Aleaha has listened to the supernatural speakers, she hasn't heeded their words–one rotten man after another has entered her life because she’s allowed it. Middle-aged now, having made a life for herself and raising two children on her own, Aleaha is in no rush to enter another doomed relationship. Her friend Shirley has her own emotional baggage, mirroring Aleaha's, which slowly unfurls. Like Aleaha, the author is in no rush, a comfortable storyteller who drops hints and takes her time picking them up, but only so much as to maintain dramatic tension. The story is set in an African-American community, but it finds itself among universal motifs: parental roles, growing older, taking care of business, finally looking for love in the right places. With a pleasing directness, Lea tackles anger–"angry at all the false hopes and promises; angry at their failures and especially their defeats"–and the joys of cutting loose: "Although, Shirley and Aleaha had come a long way from the ghetto, they were still ghetto queens when it came to having a good time." Despite the sharp patter about sex and the role of spirits in Aleaha's life, Lea knows that love is about working at it and bracing honesty as much as it’s about attraction and metaphysics. And if some threads of the story get wrapped up with over-dispatch, as in the case of the third friend, Monica, Lea turns quickness to her favor in portraying those incendiary flare-ups that happen between friends and the just as mercurial return to friendship.
Like the better aspects of living theater, the author has turned the everyday into something deep and achingly soulful.Pub Date: June 29, 2006
ISBN: 978-1-4259-4052-2
Page Count: -
Publisher: N/A
Review Posted Online: May 23, 2010
Review Program: Kirkus Indie
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
Too much drama at the end detracts from a finely wrought and subtle conundrum.
Ware (In A Dark, Dark Wood, 2015) offers up a classic “paranoid woman” story with a modern twist in this tense, claustrophobic mystery.
Days before departing on a luxury cruise for work, travel journalist Lo Blacklock is the victim of a break-in. Though unharmed, she ends up locked in her own room for several hours before escaping; as a result, she is unable to sleep. By the time she comes onboard the Aurora, Lo is suffering from severe sleep deprivation and possibly even PTSD, so when she hears a big splash from the cabin next door in the middle of the night, “the kind of splash made by a body hitting water,” she can’t prove to security that anything violent has actually occurred. To make matters stranger, there's no record of any passenger traveling in the cabin next to Lo’s, even though Lo herself saw a woman there and even borrowed makeup from her before the first night’s dinner party. Reeling from her own trauma, and faced with proof that she may have been hallucinating, Lo continues to investigate, aided by her ex-boyfriend Ben (who's also writing about the cruise), fighting desperately to find any shred of evidence that she may be right. The cast of characters, their conversations, and the luxurious but confining setting all echo classic Agatha Christie; in fact, the structure of the mystery itself is an old one: a woman insists murder has occurred, everyone else says she’s crazy. But Lo is no wallflower; she is a strong and determined modern heroine who refuses to doubt the evidence of her own instincts. Despite this successful formula, and a whole lot of slowly unraveling tension, the end is somehow unsatisfying. And the newspaper and social media inserts add little depth.
Too much drama at the end detracts from a finely wrought and subtle conundrum.Pub Date: July 19, 2016
ISBN: 978-1-5011-3293-3
Page Count: 352
Publisher: Scout Press/Simon & Schuster
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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