The novel is whimsical, erotic and comic all at the same time, and Ponce de León is revealed as an exuberant, self-indulgent...
The “incredibly old man” of the title is none other than Juan Ponce de León, who (in Siegel’s take) did discover the Fountain of Youth, lived through tumultuous historical times and died in 2006.
The conceit of this novel from Siegel (Who Wrote the Book of Love?, 2005, etc.) is that Ponce de León contacts a writer of indifferent gifts named Lee Siegel to pen his memoirs, for the Spanish explorer hasn’t written anything of note since his last logbook entry in 1513. Siegel takes on the formidable task, meanwhile trying to decide whether de León is fraudulent, authentic or crazy. The narrative is divided into historical sections beginning in 1465 and ending with a coda in 2006. Along the way we become acquainted with the subject’s life: his background as a “converso” (or converted Jew); his being dispatched to the New World in search of the Fountain of Youth; his invention of cigars and rum and discovery of popcorn; his taking on the guise of a priest but later dedicating the first synagogue in Florida; his later years as an actor and land speculator. But he recounts with even greater zest the catalogue of his lovers—and over the course of some 540 years this list is impressive. Starting out with Queen Ysabel la Católica and running into the 20th century, de León whores and debauches his way through some 30 or more lovers. (In later life he makes an alphabetical catalogue he runs through to help him get to sleep at night.) He does point out, however, that he got married only five times, an average of once per century. Throughout the novel, a comic discrepancy exists between de León, who wants to be memorialized in a particular way, and Siegel, who does his best but is constantly subject to de León’s refinements, criticisms and (occasionally) contempt.
The novel is whimsical, erotic and comic all at the same time, and Ponce de León is revealed as an exuberant, self-indulgent and crusty old guy.Pub Date: April 25, 2008
ISBN: 978-0-226-75705-6
Page Count: 240
Publisher: Univ. of Chicago
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2008
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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