An impressive debut, notable for a generous sense of fun that never detracts from the serious historical and existential...
Gregor Samsa returns, albeit still in cockroach form, in this survey course of early 20th-century Western history packaged as a sequel to Kafka’s “Metamorphosis.”
Somehow having survived the events of that tale, Samsa resurfaces in 1915 at a Viennese freakshow. There, the erudite and angst-ridden cockroach lectures crowds on the historical implications of Oswald Spengler’s bestseller The Decline of the West and recites passages from Rilke to an often rapturous response. While there is some wonder and puzzlement at the appearance of this literate bug—X-ray discoverer Roentgen makes an appearance to scan his innards to convince the crowd that there is no little man inside pulling strings—the world is for the most part unfazed by Samsa. He meets luminaries like Musil and Wittgenstein, with whom he holds appropriately arch conversations on the state of the world. Then, looking for new opportunities, he sets off for New York. A rather disastrous and brief affair with a woman is one of his few nonintellectual pursuits; being a material witness at the Scopes trial is a more typical activity for this cockroach with an unusually agile brain. His impressive intellect lands him a job working for avant-garde composer and life insurance mogul Charles Ives, then a consultancy with FDR’s campaign, and ultimately a job—in a dark closet of the White House—as Special Assistant to the Assistant Secretary of Agriculture in charge of Entomological Affairs. By the time Samsa has met Einstein and moved to Los Alamos to take part in the Manhattan Project, it’s clear that Estrin is concerned not at all with one-upping or reexamining Kafka in the manner of The Wind Done Gone. This is a grand comic opera starring a meditative cockroach scuttling through the corridors of power at the fulcrum of the 20th century.
An impressive debut, notable for a generous sense of fun that never detracts from the serious historical and existential implications of all that it so entertainingly depicts.Pub Date: Jan. 1, 2001
ISBN: 0-399-14836-1
Page Count: 480
Publisher: BlueHen/Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2001
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
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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