The talented Baker returns with sex for sophisticates, making Vox (1992) seem like a warmup exercise. A 35-year-old office temp and grad-school dropout, Arno Stine has the ability to stop the flow of time—a talent he discovered when he had a case for his fourth-grade teacher ``and wanted to see her with fewer clothes on.'' Which he did, by switching on a toy transformer and, when everything around him was struck into a time- frozen motionlessness, taking off his own clothes and a pretty good number of Miss Dobzhansky's. Ever since, he's been doing what he calls the ``Drop,'' putting the entire universe on pause and dropping into the ``fold'' or the ``fermata,'' pretty much at will, by flicking a switch, pushing his glasses up, or snapping his fingers. And what does he do when everything except himself goes on hold (and even the raindrops stop falling)? Well, mainly he masturbates—and masturbates and masturbates—often with, or near, or onto, women whom, under cover of the time-freeze, he's disrobed, or followed home, or in one ingenious way or another aroused with an aim to observing them (and joining them, separate and unseen) in orgasm. Arno considers himself harmless, tenderhearted, sensitive, even considerate (he's fond of ``giving'' sex toys to women, who'll never know where they came from), but to the reader he's—well, a one-note symphony, indisputably a gifted stylist (he's writing—as you read it—his autobiography), but psychologically pretty much skin (and more skin and more skin) deep. Arno Stine is, by and large, more interesting to watch than listen to. The metaphor of time-stop as art-power, and art-power as sex- power, has its allure. But drama is drama and porn porn, this among the most literary-respectable of the latter that money can buy.
Pub Date: Feb. 1, 1994
ISBN: 0-679-41586-6
Page Count: 320
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 1993
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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