A raucous, anguished, fast-paced story, tautly written and deeply rooted.
Award-winning Cuban writer and architect Gala links the fate of a community with the doomed construction of a cathedral in this dark, violent, often comic novel, his first to be translated into English.
The Stuart family's arrival in a rough part of Cienfuegos, Cuba, sparks the neighbors' interest: "If you're born black, you're already screwed; imagine if, in addition, you have to live in the squalid rooming houses of a neighborhood like this." Graffiti here in Punta Gotica reads "NO ONE GETS OUT OF THIS NEIGHBORHOOD ALIVE." The two Stuart sons are smart but odd, the beautiful daughter artistic. Their father, a religious zealot, is obsessed with building a cathedral. The architect hired to design it dreams of the city of the future, viewed from the back of an angel: "I saw the Cienfuegos of the future, a beautiful city, full of elegant buildings...the celestial Jerusalem." Events don't unfold that way, to say the least. Later the architect comes to believe "that it was called the Black Cathedral for those with darkness in their hearts." Told by a shifting, overlapping multitude of voices, the novel explores the interconnected lives of the local characters: kids, petty criminals, politicians, artists and writers, ghosts of people murdered by a serial killer, and the killer as well, speaking from death row. Though some move abroad, all find themselves affected by the violence and desperation of Punta Gotica and by its strange, unfinished building. As Arturo Stuart labors over "the first cathedral that is truly for and by the meek," one of his sons is initiated into the Cuban religion Palo, and the other finds work at a Russian mobster's brothel. The two sons eventually commit a terrible crime together (though worse crimes have already been done by an African Cuban character nicknamed Gringo). A retired principal of the Cienfuegos school laments of his former pupils, "They practically all turned out bad. Even the good ones aren't like we expected. I would call them the Black Cathedral generation." Trying to make sense of the Stuart boys' crime, one character says, "They were children, wicked children like all of us, children without a childhood."
A raucous, anguished, fast-paced story, tautly written and deeply rooted.Pub Date: Jan. 7, 2020
ISBN: 978-0-374-11801-3
Page Count: 224
Publisher: Farrar, Straus and Giroux
Review Posted Online: Oct. 13, 2019
Kirkus Reviews Issue: Nov. 1, 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
Rather than settle for a coming-of-age or travails-of-immigrants story, Hosseini has folded them both into this searing...
Here’s a real find: a striking debut from an Afghan now living in the US. His passionate story of betrayal and redemption is framed by Afghanistan’s tragic recent past.
Moving back and forth between Afghanistan and California, and spanning almost 40 years, the story begins in Afghanistan in the tranquil 1960s. Our protagonist Amir is a child in Kabul. The most important people in his life are Baba and Hassan. Father Baba is a wealthy Pashtun merchant, a larger-than-life figure, fretting over his bookish weakling of a son (the mother died giving birth); Hassan is his sweet-natured playmate, son of their servant Ali and a Hazara. Pashtuns have always dominated and ridiculed Hazaras, so Amir can’t help teasing Hassan, even though the Hazara staunchly defends him against neighborhood bullies like the “sociopath” Assef. The day, in 1975, when 12-year-old Amir wins the annual kite-fighting tournament is the best and worst of his young life. He bonds with Baba at last but deserts Hassan when the latter is raped by Assef. And it gets worse. With the still-loyal Hassan a constant reminder of his guilt, Amir makes life impossible for him and Ali, ultimately forcing them to leave town. Fast forward to the Russian occupation, flight to America, life in the Afghan exile community in the Bay Area. Amir becomes a writer and marries a beautiful Afghan; Baba dies of cancer. Then, in 2001, the past comes roaring back. Rahim, Baba’s old business partner who knows all about Amir’s transgressions, calls from Pakistan. Hassan has been executed by the Taliban; his son, Sohrab, must be rescued. Will Amir wipe the slate clean? So he returns to the hell of Taliban-ruled Afghanistan and reclaims Sohrab from a Taliban leader (none other than Assef) after a terrifying showdown. Amir brings the traumatized child back to California and a bittersweet ending.
Rather than settle for a coming-of-age or travails-of-immigrants story, Hosseini has folded them both into this searing spectacle of hard-won personal salvation. All this, and a rich slice of Afghan culture too: irresistible.Pub Date: June 2, 2003
ISBN: 1-57322-245-3
Page Count: 368
Publisher: Riverhead
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2003
SEEN & HEARD
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