No less insightful and stylish than Huston’s previous fiction, but no matter how you stuff ’em, the lives of academics are...
The third from Calgary-born, now Paris-based Huston (Slow Emergencies, 2001, etc.) concerns an alcoholic, neurotic, dying, famous Irish poet who invites a circle of friends from the New England college he teaches at to a last Thanksgiving dinner.
An audacious conceit distinguishes Huston’s tale from standard academic fare: specifically, the voice of God periodically interrupts the evening’s story to describe the future deaths of the assembled guests. Even so, only Sean, the host, has any inkling of his end, the doctor having recently told him of his inoperable cancer, but that doesn’t mean he has any intention of changing his tune. Smoking and drinking himself into oblivion throughout the evening, he can still enjoy the success of his plan to get everyone drunk as quickly as possible so that essential truths can be shared. The company includes two of Sean’s former lovers, one a secretary at the college, the other a philosophy professor (her philosophy-professor husband is also a guest); a black poet going through a bitter divorce; Sean’s lawyer and his contentiously feminist wife; Sean’s nearly deaf baker; a frustrated artist from Ukraine and his doting wife; a novelist of a literary stature equal to Sean’s, with his new wife and baby boy. But even with Sean deftly steering the conversation as he staggers from chair to chair, some secrets remain uncovered. The baker, in truth a Russian Jew who fled pogroms in Odessa to become a professor in apartheid-riven South Africa, remains a baker. And the novelist’s young wife, sneaking upstairs to snort cocaine on the pretense of checking on the baby, has a lurid past that the others—including hubby—couldn’t begin to imagine.
No less insightful and stylish than Huston’s previous fiction, but no matter how you stuff ’em, the lives of academics are about as exciting as turkey on a platter.Pub Date: Nov. 15, 2001
ISBN: 1-58642-028-3
Page Count: 240
Publisher: Steerforth
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2001
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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