A passionately schematic moral anatomy of a murder. Gordimer's (None to Accompany Me, 1994, etc.) resolutely small cast of characters embodies uncomfortable social truths about contemporary South Africa—truths challenged in the course of the novel, which finally seems more universal than local. ``This is not a detective story,'' declares the writer quite early, but rather an opportunity to explore complex human contradictions regarding race, sexual identity, social relations, and ethical authority. The book's drawback, despite its admirably close-packed construction and battering power of observation, is that Gordimer's characters are more like symbols than real people; they serve her rhetorical ends too summarily. The Lindgards are liberal white pillars of the less-racist-than-it-used-to-be South African establishment—Harald an insurance executive, Claudia a doctor—whose 27-year-old architect son Duncan shoots and kills his friend Carl Jesperson after stumbling upon Jesperson having sex with Duncan's girlfriend. But the story is only nominally about Duncan's motives. Instead, Gordimer puts us on the planet of his parents' panic as they realize for the first time that ``violence is the common hell of all who are associated with it.'' The Lindgards are temporarily robbed of their privilege and left to cope with what little can remain of their moral confidence. Their previously untested social prestige, for instance, had meant they ``had never been to a black man's home'' before Hamilton Motsamai, now their son's lawyer, welcomes them to his. But so much else in their lives has also gone unquestioned, and Gordimer concentrates on showing how one destructive event can forcibly clarify whatever has led up to it. Her narrative remove makes her insights seem absolute, not conditional. Yet her ``objective'' stance as an insider arbiter also lifts her high above the hell she's evoking, with the result that hell can seem a rather too orchestrated and orderly place. A Dostoyevskian look at crime and punishment, although a far remove from the way the earlier master did it.
Pub Date: Jan. 1, 1998
ISBN: 0-374-17307-9
Page Count: 256
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1997
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
Too much drama at the end detracts from a finely wrought and subtle conundrum.
Ware (In A Dark, Dark Wood, 2015) offers up a classic “paranoid woman” story with a modern twist in this tense, claustrophobic mystery.
Days before departing on a luxury cruise for work, travel journalist Lo Blacklock is the victim of a break-in. Though unharmed, she ends up locked in her own room for several hours before escaping; as a result, she is unable to sleep. By the time she comes onboard the Aurora, Lo is suffering from severe sleep deprivation and possibly even PTSD, so when she hears a big splash from the cabin next door in the middle of the night, “the kind of splash made by a body hitting water,” she can’t prove to security that anything violent has actually occurred. To make matters stranger, there's no record of any passenger traveling in the cabin next to Lo’s, even though Lo herself saw a woman there and even borrowed makeup from her before the first night’s dinner party. Reeling from her own trauma, and faced with proof that she may have been hallucinating, Lo continues to investigate, aided by her ex-boyfriend Ben (who's also writing about the cruise), fighting desperately to find any shred of evidence that she may be right. The cast of characters, their conversations, and the luxurious but confining setting all echo classic Agatha Christie; in fact, the structure of the mystery itself is an old one: a woman insists murder has occurred, everyone else says she’s crazy. But Lo is no wallflower; she is a strong and determined modern heroine who refuses to doubt the evidence of her own instincts. Despite this successful formula, and a whole lot of slowly unraveling tension, the end is somehow unsatisfying. And the newspaper and social media inserts add little depth.
Too much drama at the end detracts from a finely wrought and subtle conundrum.Pub Date: July 19, 2016
ISBN: 978-1-5011-3293-3
Page Count: 352
Publisher: Scout Press/Simon & Schuster
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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