A complex, uniquely Korean love story that shouldn’t be missed.
In Devine’s debut novel, war and traditional Confucianism tear apart an idyllic Korean family.
Eum-chun and her husband, Gui-yong, have been married for 15 years and are deeply in love. Although they adore their adopted daughter, Mi-Na, they fail to produce a son—a serious problem in their deeply traditional society. Gui-yong eventually gives in to his mother’s wishes and marries a second woman, Soo-yang, hoping she will deliver a boy to carry on the family name. Although Eum-chun tries to bear the situation bravely, she’s devastated, and cracks soon begin to form in the seemingly perfect family. The novel, set against the backdrop of the Korean War, follows four main characters as they navigate their new family and the chaos that ravages the land. Devine’s prose richly describes everyday life in 1950s Korea, and the war effectively parallels the battle raging in the family home—an insurmountable rift divides the family, just as it does their country. It’s a realistic sketch of a Korea that few Westerners have seen, depicting a patriarchal society that limits women’s choices, and each character faces a unique battle stemming from that unfortunate situation. Each of their stories is rich with emotion, and their problems give the novel depth and complexity. Most compelling are the struggles of Eum-chun, Mi-Na and Soo-yang as they fight to create their own identities; although they all fight similar battles, they cannot fight them together, as their society has driven wedges between them. Their resulting stories are often melancholy and achingly beautiful.
A complex, uniquely Korean love story that shouldn’t be missed.Pub Date: May 15, 2013
ISBN: 978-1624120039
Page Count: 316
Publisher: Seoul Selection
Review Posted Online: Aug. 12, 2013
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
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
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