Social work as satire: The harsh realities of prison life are noted briefly on the way to a formulaic (and rather...
A Wall Street whiz takes an insider-trading rap for her crooked boss and winds up in prison.
Jennifer Spencer is bright, beautiful—and behind bars. Her attorney fiancé, Thomas Branston IV, and Donald Michaels, the sharklike CEO of her financial firm, persuaded her to take the rap for Donald’s dirty deals and SEC violations, assuring her of a slap-on-the-wrist reprimand—and now she’s in the Jennings Correctional Institute for Women for three to five. It’s no country club, even though warden Gwen Harding is a sympathetic sort. Jennifer trades her Armani outfit for an orange jumpsuit, endures a body cavity search, and meets her fellow inmates: Movita Watson, a proud black woman serving a life sentence for slaying her abusive husband; thieving Cher McInnery, a hillbilly goddess from Arkansas; Suki, a fragile young woman convicted as accessory in a robbery, now pregnant by a guard who raped her; and Margaret Rafferty, a prep school headmistress found guilty of murdering her cheating husband. Jennifer soon understands that the name of the game is humiliation, not rehabilitation; and that no one is going to rescue her any time soon. But Lenny Benson, her firm’s mild-mannered accountant, has been digging into the records and uncovering all kinds of wrongdoing—though not evidence enough to spring Jennifer. A crisis looms when the prison is faced with privatization by JRU, a cash-poor business planning to use inmates as telemarketers. Aided by Margaret’s wheeler-dealer sons, Jennifer scotches the plan by on-line manipulation of JRU stock and arranging for a buyout of the undercapitalized company. With time off for good behavior, she’s soon a free woman, meting out punishment to Donald and Tom and wangling pardons for some of the other Pen Pals.
Social work as satire: The harsh realities of prison life are noted briefly on the way to a formulaic (and rather improbable) happy ending. Goldsmith (Bad Boy, 2001, etc.) has done better.Pub Date: Feb. 1, 2001
ISBN: 0-525-94644-6
Page Count: 368
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2001
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
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
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