Before it finally finds its groove, though, the slow pace and soft diffusiveness try the patience.
A short, quiet novel moves very slowly through uneventful lives in the 1950s.
Bea Maxwell ages from her youth to spinsterhood without ever having a serious romantic, or sexual, relationship. Her indifference to boys, or theirs to her, was apparent as early as high school. Something may, or may not, have happened to her during a short post-college stint in Chicago before she returned to Wisconsin’s Keck Road area to stay. But with faint echoes of Richard Ford’s Frank Bascombe, she’s soon selling real estate. While Bea’s the central figure here, she shares center stage with June, a college friend and sorority queen from the “new part of town,” and with Shelley, somewhat younger, a victim of polio induced, ironically, by the polio vaccine. Two things link the three women: Keck Road and Bill Alberts. Simpson (A Regular Guy, 1996, etc.) shows how development resembles destruction. In one of the story’s finer moments, local firemen practice their craft on a tree they set ablaze, then extinguish, again and again; while Bea and Shelley look on transfixed, it is a tree they remember. Meanwhile, Bill Alberts offers the women a chance at romance, but one as compromised as Keck Road’s “progress”: he’s an unhappily married philanderer whose one true passion is jazz drumming. Across several decades, Alberts carries on flirtations with all three women, or they with him, but their dalliances never find swing time. Neither, unfortunately, does Off Keck Road. Not much happens in these lives, or in this place, over those decades. the story simply covers too much time with too little incident. History barely intrudes. And by alternating sections between Bea and Shelley, the energies get dispersed: what the novel’s about is almost defiantly concealed until nearly two thirds through. Which is too bad, because when the pace finally accelerates and the dramatic focus resolves, Simpson’s careful, quirky eye finds poignancy, even grace, in these simple lives.
Before it finally finds its groove, though, the slow pace and soft diffusiveness try the patience.Pub Date: Oct. 23, 2000
ISBN: 0-375-41010-4
Page Count: 168
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 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
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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