The cold and honest confessions of a damaged young woman who lives to serve.
An emotionally barren waitress hustles her way through life, dulled by sex, drugs and self-inflicted burns.
This brutal, darkly poetic debut novel earned Tierce, a recent Iowa Writers’ Workshop graduate, a Rona Jaffe award and inclusion in the National Book Foundation’s “5 Under 35.” It’s a flawed thing of beauty, as terribly uncomfortable to read as it is often brilliant. The tale jumps around in time and tone, feeling much like a series of short stories that have been stitched together to form a whole. When we first meet Marie in “Put Your Back Into It,” she describes four doctors she met at a catering event, three of whom she sleeps with. From there, we get her story in fits and starts: She gets married far too young to the teenage boy who fathers the little girl she's not ready to take care of. The guy splits when she gives him an STD she caught sleeping around. To survive, she becomes a professional waitress, sleekly navigating the nuances of the restaurant floor while simultaneously taking bumps of coke and suffering the cock-and-bull machismo of the kitchen. As we follow her from Chili’s and The Olive Garden through classier cafes and finally to “The Restaurant,” a high-end Dallas steakhouse, we get stories of corrupt managers, kitchen hustlers, back-stabbing waiters and dim bussers, all sharply portrayed. If there's a significant hurdle to believability, it’s Marie’s reckless, self-destructive sex life. We already know she’s a cutter, but the number of people she submits to is shocking, often letting men double-team her in walk-ins, pickup trucks and back rooms. “It pays to hustle, it pays to bend over,” she advises. “You keep your standards high and your work strong but these are necessary for success; you keep your dignity separate, somewhere else, attached to different things.”
The cold and honest confessions of a damaged young woman who lives to serve.Pub Date: Sept. 9, 2014
ISBN: 978-0-385-53807-7
Page Count: 224
Publisher: Doubleday
Review Posted Online: July 8, 2014
Kirkus Reviews Issue: Aug. 1, 2014
PROFILES
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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
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