Original but disappointing.
A narrative of disability and its consequences.
An author of science fiction, thrillers, and historical fiction, Griffith (Hild, 2013, etc.) defies easy categorization. So does her latest novel. It has some of the elements of crime fiction, but its shape does not conform to the genre’s norms. Romantic relationships play a significant role in the plot, but this is certainly not a romance novel. This is, more than anything, a story about disability and how it shapes—and reshapes—people’s lives. The narrative begins with Mara Tagarelli’s longtime partner, Rose, leaving her for another woman. When Mara turns to Aiyana, one of her oldest friends, for comfort, their relationship turns sexual. But Aiyana’s job is taking her to New Zealand, so Mara is alone when she discovers that she has multiple sclerosis. As both the illness and the side effects of drug therapy take their toll, Mara is forced to step down as executive director of a multimillion-dollar AIDS organization. Her experience in that space gives her tools for advocating for herself and other people with MS, but her failing body challenges Mara’s sense of herself. She’s used to being strong and self-reliant, and now she is weak and dependent. She doubts that anyone can really want her. She is prickly about Rose’s offers of help, and she assumes that Aiyana has lost interest. Then MS sufferers on a mailing list Mara has compiled become the victims of violence, and she suspects that the perpetrators might be working their way toward her. There are plenty of compelling themes here, and this might have been an excellent novel if it had been half again as long. But everything feels rushed. Mara’s reaction to her disease is raw and honest, but readers only see her as caustic and difficult. Unpleasant protagonists can be compelling, of course, but, here, it’s easier to understand why Rose and Aiyana would ditch Mara than to understand why they stick with her. And the element of mystery is introduced late and resolved before it generates any real tension.
Original but disappointing.Pub Date: May 15, 2018
ISBN: 978-0-374-26592-2
Page Count: 192
Publisher: MCD/Farrar, Straus and Giroux
Review Posted Online: April 2, 2018
Kirkus Reviews Issue: April 15, 2018
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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