At once bleak and dishonest: repeatedly affirming traditional family life while leaving readers with the sense that slow...
A blue-blood Cape Cod matron takes stock of her blameless life.
Grace Alcott has always kept strictly to the beaten path. Her husband is a prig, but faithful and a good provider. He is also the only man she has ever kissed. She has devoted her life exclusively to raising his children, a life so serene that the story skips from Grace’s early 20s to her late 50s without missing a single event of importance. Then the middle-aged grandmother’s safe world begins to fall apart. Her husband loses his wealth through an ill-considered business scheme. Her alcoholic brother commits suicide after confessing to an adulterous affair with Grace’s best friend. The friend, Prissy, vanishes without explanation just as Grace is diagnosed with breast cancer. Meanwhile, her two sons are shallow, selfish creatures for whom she feels a spirited dislike. The elder is a shiftless hippie who demands to be supported by his parents so that he can tend his three children while his sluttish wife pursues her career as a healer. The younger is a realtor who sees his parents only as an impediment to his inheritance. Under these circumstances, it is no surprise that Grace keeps her cancer secret and eschews treatment. At the 11th hour, the tale draws back from this grim conclusion, but its tardy affirmation of Grace’s cardboard marriage fails to convince. Long conversations about the characters’ reawakening offer a poor substitute for actual reawakening. Veteran mystery author Geary (Regrets Only, 2004, etc.) boasts a fluid prose style, and her rendering of upper-class foibles is charming. Her neat satirical observations, however, are wasted on a baggy plot and timid resolution.
At once bleak and dishonest: repeatedly affirming traditional family life while leaving readers with the sense that slow death is preferable.Pub Date: July 18, 2005
ISBN: 0-446-53220-7
Page Count: 336
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2005
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
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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