An almost narcotically depressing novel; its fine writing, artsy digressions, and close psychological study require a...
A slow, lyrical exploration of a family's unspooling after the death of a child.
As Reisman's (The First Desire, 2004) second novel begins, James and Nora Murphy are about to take their three young children on vacation from their home in Massachusetts to Rome. One of them dies in an accident there, and the novel follows the survivors, and two children born later, for decades. In those years, just about every other bad thing that can happen to a family piles on to the original tragedy, accruing in short chapters and poetic language. A landscape: "August thunderstorms...jagged lines to the northeast, and the felt-sense of water spilling over into the dark." A sex scene: "a place of liquid and muscle and bone. A salt tang, a pale gray drifting...." A dinner: "the kettle almost announcing itself as kettle, the paper shell of the garlic feathery against his skin, tart slices of lemon brilliant on the counter." One admires Reisman's skill, but these lapidary descriptions eventually become tiresome. Ornamenting the narrative further are vignettes analyzing various paintings and sculptures which can be seen in Rome—by Caravaggio, Fetti, Bernini, many more. Each moves from description into second-person philosophical inquiry. "If she could escape the harsh light, the judging view, might the shame dissolve into more tender melancholy? Beyond the frame and any view—even yours—she might rest." If these sections develop the plot, it's so subtly that one could easily skip them, like the whaling chapters in Moby-Dick. Too many paintings, too many houses, too many emerald green pieces of broccoli: the Murphys' lives become as wearying to the reader as they are to the Murphys themselves.
An almost narcotically depressing novel; its fine writing, artsy digressions, and close psychological study require a special sort of reader.Pub Date: May 12, 2015
ISBN: 978-1-941040-03-4
Page Count: 352
Publisher: Tin House
Review Posted Online: Feb. 11, 2015
Kirkus Reviews Issue: March 1, 2015
BOOK REVIEW
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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