A readable but reductive and rather off-putting look at relationships, whether new or old.
Four roommates at a liberal arts college respond differently to the charisma of a married visiting professor with a murky past.
There’s not much good sex in this second novel from Berman (Perennials, 2017) but a fair amount of bad. As the story opens, 21-year-old Fiona Larkin, who rooms with Liv, Lula, and Marley, all seniors at Buchanan College in Pennsylvania, is advised not to spend the night with a male student who has been accused of rape. But needy Fiona sleeps with him anyway, an ugly experience, typical of the kind of poor choices she’s currently making in the aftermath of her younger sister Helen’s sudden death and her family’s disintegration. (Fiona and Helen also featured in Perennials.) And it’s not only Fiona who arrives with a deep backstory. Lula is a rich, black, half-Jewish femme lesbian, and Liv is the product of a Japanese mother and a wealthy, alcoholic American father who possibly abused her. To this mix Berman adds a catalyst, Oliver Ash, a teacher of literature and creative writing who brings to Buchanan a Holocaust background and his own history of dubious sexual conduct. Meanwhile, in Berlin, Ash’s wife, Simone, is tending their 5-year-old son, Henri, while studying the sexual slavery of concentration camp prisoners. Certain themes, it becomes obvious, are the tent pegs holding up this long novel, which partly presents itself as a saga of female campus friendship but also wants to address weighty contemporary topics. The result is a restless, relatively eventless tale: Liv loses a boyfriend and develops a passing crush on Oliver; Fiona grapples with her insecurities, guilt, and a matching crush; Liv and Fiona take a doomed trip to Paris; Simone faces up to her feelings. The learning curve, it seems, is an often gloomy and incremental business.
A readable but reductive and rather off-putting look at relationships, whether new or old.Pub Date: May 28, 2019
ISBN: 978-0-399-58934-8
Page Count: 400
Publisher: Random House
Review Posted Online: March 2, 2019
Kirkus Reviews Issue: March 15, 2019
BOOK REVIEW
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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