Magical realism of the best kind, utterly devoid of whimsy.
The story of a bleak, isolated Irish island where everyone believes in, and justifiably fears, fairies.
St. Brigid, a saint often conflated with a druid goddess of the same name, chose the remote (and fictitious) isle that bears her name as a haven for her order of nuns. In 1960, a prologue reveals, St. Brigid’s, which lacks electricity, telephone, or any other modern convenience, is about to be evacuated, its inhabitants—women, children, and one elderly man—resettled in council housing on the mainland. The main plot begins a year earlier, when a “Yank” named Brigid arrives to claim her late uncle’s cottage and land. Brigid plans to stay despite the fact that the islanders still live as their ancestors have for centuries: fishing, farming, heating and cooking with peat fires. The first to welcome Brigid are Emer and her young son, Niall. Emer, who, as a child, tried to consort with fairies and lost an eye as a result, needs a friend: her pervasive aura of gloom has alienated all but her closest kin. Brigid inherited her gift of healing hands from her mother, who was, like Emer, reputed to be “touched” by fairies. Back stories swirl, heightening the stakes: Brigid, who has been an orphan, a midwife, and a child bride, is now nearly 40, infertile, and desperate to be a mother. She hopes to locate the spring of St. Brigid, which is said to work miracles—but the islanders keep the location of these waters a secret. Emer’s sister Rose married Austin, the man Emer loved, and has a large brood, while Emer had to settle for Austin’s brother Patch, a loutish drunk. Her biggest fear is that the fairies covet Niall and, as is their wont with certain children, plan to steal him when he turns 7 and leave a changeling in his place. Vividly and soulfully described, love and curses, roiling in a supernatural stew, bring about the large and small calamities that will render St. Brigid’s uninhabitable.
Magical realism of the best kind, utterly devoid of whimsy.Pub Date: Feb. 7, 2017
ISBN: 978-0-06-249218-0
Page Count: 400
Publisher: Perennial/HarperCollins
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PROFILES
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
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
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