This collection of stories is intriguing but misses as standout fiction through uneven writing and trying too hard to be...
Edgy writing in an unnerving collection of short fiction.
The title sets the tone for these stories, as each confronts some facet of inappropriate behavior, whether in the reader’s opinion or in the judgment of posterity. Several of the stories focus on historical figures before they gained their notoriety, people we would most likely not want to encounter in daily life. Lee Harvey Oswald is here, as is John Hinckley Jr., the attempted assassin of President Ronald Regan. David Ferrie, the odd informant tied by some to the JFK conspiracy, also makes a visit in the hallucinations of a damaged high school girl. Though well-done, the best of the lot are those created from pure imagination. Farish works best when he is left to his own devices. "Ready for Schmelling" is a strange and humorous account of life in a large corporation that touches the absurd and hints of Kafka. He mixes farcical comedy in "The Thing about Norfolk" with true anguish in the disappointment of small-town life in "Mayflies." Violence haunts these pages, and insanity is the ghost in the machine. The titular story is almost a tour de force on the state of young American families facing unemployment, medical costs, the inability of social institutions to handle specific human problems, and the anxiety of coping with a behaviorally disturbed son in the face of all these obstacles. Almost. Its penultimate section is a steady barrage of questions about life and substance in America that generates frightening momentum as it moves over several pages. Stop there. It loses its punch with the actual ending.
This collection of stories is intriguing but misses as standout fiction through uneven writing and trying too hard to be oddly curious.Pub Date: March 18, 2014
ISBN: 978-1-57131-107-8
Page Count: 224
Publisher: Milkweed
Review Posted Online: Jan. 22, 2014
Kirkus Reviews Issue: Feb. 1, 2014
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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