Tantalizingly sensationalistic premise, disappointing execution.
Men—not the woman who murders them—are the objects of horror in this debut novel.
The story opens with a vivid description of the protagonist’s mother tearing apart a fish she has just cooked and horrifying both her daughters by pulling out an eye, holding it aloft, and eating it with exaggerated relish. It’s an arresting tableau and one that will—as you might guess from the title—take on greater significance as the narrative progresses. This is also a rare moment of pleasure for a woman whose world is falling apart after her husband abruptly left her, and this betrayal by a man will also echo throughout the book. Ji-won, the narrator, is in her first year of college. She’s struggling academically and socially. When a white guy named Geoffrey seems eager to get to know her, she neither discourages him nor encourages him. Her reaction to her mother’s new boyfriend, George—another white guy—is entirely straightforward: She loathes him, and his arrival is something of a psychic turning point. Her loathing turns into nightmares about blue eyes, and Ji-won turns into a murderer with a desperate need to devour human eyeballs. There will no doubt be readers who get a kick out of this book simply because it’s a feminist revenge fantasy. But if the concept alone isn’t enough to hold your attention, there’s not much else on offer here. The pace is leaden—until the final act, which feels rushed and truncated. Geoffrey is straight caricature; a dude who is this emphatic about his feminism has to be a creep. George is also rather broadly depicted. It’s only fair to say that his ignorance, bigotry, and general terribleness are believable but, as a villain, he doesn’t have enough depth to make him interesting. Neither does Ji-won, and that’s probably this book’s greatest weakness. Kim does very little to help us understand why, exactly, this young woman turns murderous. Young women all over the world deal with terrible men every day without going on a cannibalistic killing spree. Her transition from aimless and unhappy college student to devious criminal mastermind is equally perplexing.
Tantalizingly sensationalistic premise, disappointing execution.Pub Date: June 25, 2024
ISBN: 9781645661238
Page Count: 288
Publisher: Erewhon
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: June 15, 2024
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
