A schematic tale about the friendship between two women that, weighted by much pop psychoanalyzing, just barely keeps afloat. The small-town Ohio story coauthored by poet Hugo and novelist Villegas (All We Know of Heaven, 1997) opens as psychoanalyst Laurel’s lover Jake asks her to come to the Bahamas with him. Ever since she witnessed her brother Tim’s drowning in a freak flood, Laurel, who was six at the time, has felt she could have saved him if only she’d been able to scream. As a result, she’s terrified of water and can’t swim. But she loves Jake—so over to the local Y she goes, there meeting Marna, a former champion swimmer and current Y instructor. Marna, married to J.W., was raised in a trailer park by Roxie, a tough, chain-smoking single parent; Marna never knew her own father. A sadistic boyfriend of her mother’s once threw Marna in deep water, and he still haunts her dreams. Marna’s relationship with Roxie isn—t close at all, and she doesn’t think she can bear the children J.W. wants (secretly she’s been taking the Pill). And so, these two women have plenty of confidences to share as Laurel confronts her fears and slowly learns to swim. Laurel tells Marna all about Jake and Tim, and Marna confesses her reluctance to confront her fears or J. W., who has been behaving rather strangely. When the two discover how much they have in common, their friendship actually almost ends. But when Laurel breaks up with Jake and Marna divorces the cheating J.W. the two women take the plunge and plan a trip to the Bahamas, where Laurel can show off her swimming skills and Marna her new self-esteem. More at home in the shallow than the deep end, though nicely detailed. (Literary Guild Featured Alternative)
Pub Date: July 8, 1998
ISBN: 0-688-15977-X
Page Count: 224
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1998
BOOK REVIEW
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
Corrosive dispatches from the divided heart of America.
Edgy humor and fierce imagery coexist in these stories with shrewd characterization and humane intelligence, inspired by volatile material sliced off the front pages.
The state of race relations in post-millennial America haunts most of the stories in this debut collection. Yet Adjei-Brenyah brings to what pundits label our “ongoing racial dialogue” a deadpan style, an acerbic perspective, and a wicked imagination that collectively upend readers’ expectations. “The Finkelstein 5,” the opener, deals with the furor surrounding the murder trial of a white man claiming self-defense in slaughtering five black children with a chainsaw. The story is as prickly in its view toward black citizens seeking their own justice as it is pitiless toward white bigots pressing for an acquittal. An even more caustic companion story, “Zimmer Land,” is told from the perspective of an African-American employee of a mythical theme park whose white patrons are encouraged to act out their fantasies of dispensing brutal justice to people of color they regard as threatening on sight, or “problem solving," as its mission statement calls it. Such dystopian motifs recur throughout the collection: “The Era,” for example, identifies oppressive class divisions in a post-apocalyptic school district where self-esteem seems obtainable only through regular injections of a controlled substance called “Good.” The title story, meanwhile, riotously reimagines holiday shopping as the blood-spattered zombie movie you sometimes fear it could be in real life. As alternately gaudy and bleak as such visions are, there’s more in Adjei-Brenyah’s quiver besides tough-minded satire, as exhibited in “The Lion & the Spider,” a tender coming-of-age story cleverly framed in the context of an African fable.
Corrosive dispatches from the divided heart of America.Pub Date: Oct. 23, 2018
ISBN: 978-1-328-91124-7
Page Count: 208
Publisher: Mariner/Houghton Mifflin Harcourt
Review Posted Online: July 16, 2018
Kirkus Reviews Issue: Aug. 1, 2018
BOOK REVIEW
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