Mysterious, bizarre, frustrating, weirdly smart, and pretty cool.
The political and personal chaos of the summer of 2017 as it tumbles through the consciousness of a writer named Kathy.
With this brief, breathless experimental novel, Laing (The Lonely City, 2016, etc.) has left the world of literary nonfiction behind and planted an explorer's flag in an unusual, individual destination somewhere on the continent of fiction. The narrative begins with Kathy's arrival in England on a plane from New York. She is met by her fiance, who we will eventually learn is also a writer, 29 years older than she. At this early point in the story, there is also another man in her life, but this turns out to be no big deal—that kind of plot is not the focus here, though Kathy will at some point get married and, at some time after that, will actually fall in love. A focus at least as prominent as this "love story" is creating a record of the ongoing avalanche of terrible news that characterizes this time in the age of Trump and Brexit, the threat of war with North Korea, various terrorist incidents, murders of innocents, Steve Bannon's resignation, etc. Another major concern is the overlap of the narrator with the character of the late transgressive feminist writer Kathy Acker. Since the real Kathy Acker died in 1997, this Kathy can't be that Kathy, but on the first page of the book, she is credited with writing Acker's books, and lines from Acker's work are woven through the text and footnoted at the end. This Kathy is close to that Kathy in body and spirit. "The best thing about breast cancer was the double mastectomy, lop them both off she said, I'd always hated them. Hair cropped, skinny, flat-chested, she was a lovely dickless boy, a wrinkling Dorian Gray, finding her jewels....She was indeterminate and oversexed, a hot chrysalis, and if she'd had a dick you better believe it would be perfect, at least as good as David Bowie's." To enjoy this book, you have to stop trying to understand it. If you can, you may well experience a warm sense of recognition at the absurdity and impossibility of trying to carry on a life in these times.
Mysterious, bizarre, frustrating, weirdly smart, and pretty cool.Pub Date: Sept. 11, 2018
ISBN: 978-0-393-65272-7
Page Count: 160
Publisher: Norton
Review Posted Online: June 17, 2018
Kirkus Reviews Issue: July 1, 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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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