A period piece and an interesting novelty, Fisher’s novel has exquisite moments, but it’s easy to see why she didn’t...
From the great 20th-century food and travel writer, a lyrical roman à clef set among Americans in 1930s Switzerland.
In 1938, Fisher was living with her soon-to-be second husband, Dillwyn “Tim” Parrish, in a farmhouse outside a Swiss village. Soon after this autobiographical story is set, Parrish developed a circulatory disease and had to have his leg amputated. The agony of his phantom limb—the “theoretical foot” of the title—eventually drove him to suicide, and Fisher’s novel lay unpublished in her agent’s files for decades. In it, the Fisher character, Sara Porter, is living out of wedlock with the Parrish-like Tim Garton on an estate overlooking a Swiss lake. Late in the summer, Tim’s and Sara’s siblings and several friends descend on the couple for a house party. Brief italicized passages from Tim’s point of view after he loses his leg contrast darkly with the sensuous and mostly plotless idyll. The book’s key note is impossible love: siblings longing for siblings with almost incestuous intensity, a young man infatuated with an older woman, a widow in love with her female best friend, couples scandalously unmarried or married to other people. All this longing infuses the action—or rather, inaction—with a poignancy familiar to readers of Fisher’s travel and food writing. The characters pick flowers, arrange them, nap, dress, watch each other in mirrors, and, of course, eat and drink: “They ate little roasted cold pigeons and dug into a magnificent aspic all atremble with carrots and radishes and slices of cucumbers cut like stars and moons….The wine was rich and ripe and slid warmly down their various throats in different ways.”
A period piece and an interesting novelty, Fisher’s novel has exquisite moments, but it’s easy to see why she didn’t consider herself a novelist.Pub Date: Feb. 9, 2016
ISBN: 978-1-61902-614-8
Page Count: 304
Publisher: Counterpoint
Review Posted Online: Dec. 7, 2015
Kirkus Reviews Issue: Dec. 15, 2015
BOOK REVIEW
BOOK REVIEW
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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