Superb atmospherics and dramatic timing coupled with arresting storylines. A promising start, if sobering for readers unused...
Memorable, even haunting tales of war and peace—two states of being that, in debut author Lindsey’s hands, are hard to tell apart.
“The bars having closed at midnight, we turn to guns.” So opens the title story, which, like the other pieces here, is largely set in the South, but a South not of stately magnolias and antebellum mansions but of dilapidated row houses ready to crumble into overflowing rivers, of chemically altered men and women nursing wounds physical and mental, of days spent with beer cans under ceiling fans before reruns on old televisions that would be better taken outside and shot. Those men and women have been to far-off deserts to fight, and they have seen horrible things and then come home to horrible situations. In the opening story, a woman whose just-barely-running car is making noises “like the collision of track gears on an M113A3 personnel carrier” endures an abusive boss, a dead-end job, and memories of a playful dog shot dead by the guys in the motor pool; so awful is her daily existence that she carefully plans a suicide that she can’t carry out because she is so constantly harried. In such a scenario, annual evaluations are as lethal to the spirit as IEDs are to the body. Civilians, too, are generally useless, like the gangbangers in one pensive story who fire off a few rounds, prompting a vet to protest, “You do NOT engage combat outside of an official combat zone.” But here the combat zone has extended to cover parking lots, bowling alleys, offices, everywhere, as inexorable as kudzu. Revisiting and building on themes from one story to the next, Lindsey writes with quiet confidence and sometimes arch humor that invites comparison to Ben Fountain and Phil Klay but that wouldn’t displease Flannery O’Connor.
Superb atmospherics and dramatic timing coupled with arresting storylines. A promising start, if sobering for readers unused to the grim realities of war.Pub Date: July 26, 2016
ISBN: 978-0-393-24960-6
Page Count: 224
Publisher: Norton
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
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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