The rich content gets slightly buried in the complex structure of this ambitious novel.
A family history unfolds in the form of a screenplay spanning three generations and several countries.
Huston (Infrared, 2012, etc.) opens the novel in a hospital room where Milo Noirlac, a renowned screenwriter, is dying. Milo’s co-writer and director, Paul Schwarz, visits, and they begin writing their final screenplay. The present action of the novel remains in this one room as it fills with stories from the past. Structurally, the novel is highly complex. The screenplay follows three subplots, each with its own protagonist: Milo’s grandfather, his mother and Milo himself. Early on, Paul states his philosophy of film: “For the first ten minutes, the audience is infinitely tolerant and will accept whatever you choose to flash at them.” Chapter 1 of the novel embraces this concept, forcing the reader to weave the threads together and jump through time and space, from Ireland to Canada and back again. The language is lyrical and takes full advantage of the novel-as-screenplay form. Time passes in a series of montage images layered with a character’s voice-over. With Milo’s mother, the camera takes on her point of view so that the reader is always in her body, experiencing her trauma. The ugliness of the scenes, which depict rape, child abuse and bloody revolution, contrasts sharply with the beauty of the prose in a rich and engaging way. In each subplot, however, there are scenes that feel melodramatic and heavy-handed. Paul, speaking to Milo, provides metacommentary on the screenplay throughout their writing and often points out these over-the-top moments as well as weak dialogue and scenes they will need to revise or cut. In this way, the novel allows for some flaws in the story, though they are still frustrating to encounter. In addition to the already complicated three-pronged plot structure, each chapter is titled with the name and definition of a capoeira term. The significance of capoeira is not immediately clear. This becomes yet another layer added to the narrative, which begins to feel weighed down under the pressure of too many guiding structures.
The rich content gets slightly buried in the complex structure of this ambitious novel.Pub Date: Sept. 2, 2014
ISBN: 978-0-8021-2271-1
Page Count: 288
Publisher: Black Cat/Grove
Review Posted Online: July 30, 2014
Kirkus Reviews Issue: Aug. 15, 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
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
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