A novel that effectively intertwines ruminations on race, music, romance, and history.
Two St. Louis residents, united by music and a local record store, fall in love in Morais’ nostalgic debut novel.
Although it opens in 2014, most of this story unfolds during the 1980s and ’90s as it follows Octavian Munroe and Mina Rose during their childhood and teenage years. Octavian, the African American son of a professor and a poet, comes from a more stable household, although the death of his mother from cancer and his brother Francis’ issues with drug dependency cause complications. Mina, the daughter of an attorney who’s as eccentric as she is formidable, has a less stable home life, but she has the unquestionable advantage of being white in a city that’s rife with race-related issues. Octavian and Mina’s first meeting is in the fifth grade; later, they bond with friends at Rahsaan’s Records, where they later work, and they form a friendship that not even the tidal forces of their lives can tear apart. Morais conjures a very specific milieu—urban St. Louis in the 1980s and ’90s—in a way that makes it feel lived-in, and she populates the setting with a panoply of rich characters who express themselves with varying degrees of forthrightness. Although readers of the main characters’ generation may relate to the novel more than others due to its many specific cultural references, Morais gives it universality as well as specificity—particularly in her depiction of Octavian and Mina’s believable, multidimensional relationship. They talk, argue, reconcile, and razz friends in language that’s heightened but never strained or unrealistic. Readers who have a low tolerance for nostalgia may want to look elsewhere, but for readers who enjoy a story of the robustness and fragility of love, Morais’ work is a must-read.
A novel that effectively intertwines ruminations on race, music, romance, and history.Pub Date: Oct. 22, 2019
ISBN: 978-1-948705-58-5
Page Count: 304
Publisher: Amberjack Publishing
Review Posted Online: Sept. 10, 2019
Kirkus Reviews Issue: Nov. 1, 2019
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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