Not every reader will want to explore this depressing terrain, but Cody writes with an elegance and dignity that deserve...
In a fourth outing, Cody (So Far Gone, 1998, etc.), who tends to take his readers down the darker back alleys of the human psyche, explores the mind of a mental patient who may have killed his wife.
In the opening, narrator Earl Madden remembers a spring night when his beloved wife June went on sleeping while he remained awake, plagued by ominously violent fears and fantasies. Earl is aroused from this reverie by a nurse in the mental hospital where he is now incarcerated. It soon becomes clear that Earl doesn’t know how long he’s been in the hospital and is cloudy about the recent part of his life, leading up to his arrival. He is much clearer about the lives of the famous mass killers whose familiar histories he tells without naming names. Earl remembers his own life in fragments: his unhappy childhood, shot with a few glimmers of very early happiness, his borderline abuse at the hands of a neighbor, his father’s breakdown, his mother’s decline and murder. His older brother disappeared into the army, but Earl’s intelligence and good behavior got him to college, graduate school, and then a teaching job at a Boston area Catholic boys’ school, where he met June. A meticulously drawn scene of their early courtship—he sits in her kitchen while she bakes bread—is worth the price of the book, searingly painful in its hopefulness. Back in the present, Earl’s psychiatrist keeps reminding Earl that June is gone and asking him to give his version of her disappearance. In each meeting, Earl describes a different way he murdered her, by knife, by gun, by his bare hands. Finally, he begins to remember what really happened: June’s less dramatic but no less tragic departure from his life.
Not every reader will want to explore this depressing terrain, but Cody writes with an elegance and dignity that deserve recognition.Pub Date: May 10, 2004
ISBN: 0-670-03309-X
Page Count: 256
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2004
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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