Often exquisite; too often, too much of a good thing.
The “honour killing” of two unmarried lovers casts long shadows over several related lives, in a second novel by the Pakistani-born British author.
Following Aslam’s debut (Season of the Rainbirds, 1993) by so many years, this is an understandably painstakingly crafted exploration of cultural conflict, set in a Pakistani enclave (Dasht-e-Tanhaii, meaning, roughly, “desert of solitude”) within an unnamed English town. The victims of the aforementioned crime are Jugnu, a lepidopterist, and Chanda, the thrice-married, twice-divorced sister of middle-aged protagonist Shamas. A failed poet now employed as a social worker, Shamas offers a mediating voice between the commands of Islamic law (literally obeyed by Chanda’s brothers, who killed her and Jugnu to punish their immorality) and the less stringent imperatives of contemporary British culture. A further contrast exists between the well-meaning Shamas and (the tale’s other major figure) his wife Kaukab, a rigorously devout Muslim for whom sexual irregularity is only one of numerous “sins” subject to the harshest draconian penalties. Thus does Aslam’s lovely title embrace not only the ill-fated couple and Kaukab and Shamas, but also the latter couple’s three adult children: notably, their daughter Suraya, divorced in an irrational moment by her drunken husband, and disallowed from reuniting with him, without first marrying, then divorcing another man. The great and genuine strength here is the fairness with which Aslam presents all viewpoints (his portrayal of Kaukab, a woman of very real principle nevertheless tormented by the beliefs she holds with utmost sincerity, is a particular triumph). But Aslam overstates and sentimentalizes Shamas’s selfless saintly decency, and drowns the story in a gratuitously exotic and sensuous hothouse atmosphere evoked by ludicrously strained imagery (during oral sex, a woman’s body is “as eloquent as weather”; roses die, “each round rosehip with its tall crown of long hairy sepals looking as though a berry has fused with a grasshopper”).
Often exquisite; too often, too much of a good thing.Pub Date: May 8, 2005
ISBN: 1-4000-4242-9
Page Count: 384
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2005
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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