A top-notch tale of domestic paranoia that owes a debt to spooky psychological page-turners like Rosemary’s Baby yet is...
A mother tries to reconcile the voices in her head and an extortionist estranged husband in a peculiar, stirring thriller.
Anna, the narrator of Millet’s 10th novel (Mermaids in Paradise, 2014, etc.), began hearing an inexplicable “stream of chatter” after her daughter, Lena, was born. The voices diminished after a year, and a split from her husband, Ned, prompted her to move from her native Alaska to a coastal Maine motel with a decidedly eerie cast; in time she’ll learn it’s an unwitting magnet for others with similar conditions. But Anna has more pressing problems: Ned is running for the Alaska state Senate and wants Anna and Lena to head back to Anchorage to serve as photo-op props. When Anna demurs, Ned turns threatening; when she tries to hasten a divorce, Lena is kidnapped. Millet has a knack for planting plainspoken, world-weary narrators in otherworldly circumstances, and Anna is one of her sharpest, most intriguingly philosophical creations. Though she considers medical and scientific reasons for the chatter (“filtered particles from the immense cloud of content carried by those millions of waves that pass through us all the time”), her head is also aswim with stories of mysterious symbiotic tree colonies and a “deeper language, an urge that underlies our patterns of survival.” Rather than feeling like two novels on separate tracks—New Age ramble and evil-ex drama—those threads braid effectively, especially when it comes to politics. If Ned’s campaign can stage-manage Anna’s life so effectively, how much of a force is it in everything else? Millet is content to leave the woollier questions unanswered, but the thriller writer in her brings the book to a satisfying climax.
A top-notch tale of domestic paranoia that owes a debt to spooky psychological page-turners like Rosemary’s Baby yet is driven by Millet’s particular offbeat thinking.Pub Date: May 3, 2016
ISBN: 978-0-393-28554-3
Page Count: 256
Publisher: Norton
Review Posted Online: Feb. 16, 2016
Kirkus Reviews Issue: March 1, 2016
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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