Pleasant narrative, but a first novel even so that lacks any punch.
A belated coming-of-ager about a woman in her 30s who returns home to Florence, Ohio, after a stint abroad to confront her family’s not-very-secret secrets.
After Merle Winslow’s mother Joannie dies in a car accident, 13-year-old Merle and her younger brother Olin are raised by their father Ernest and grandmother Lettie. At 18, Merle discovers that her mother was with a lover when she died. She stews over this information for four years before running off to England, where she hooks up with the decadent son of a British diplomat and works in the pornography-publishing business. The story opens ten years later, when Merle returns to Florence after her boyfriend proposes a sexual deviation beyond her limit. Back in Ohio, she finds that Olin, after a successful career in marketing, is now trying to become a stand-up comic, while Ernest has a new fiancé very different from Joannie—and Lettie is still feisty and difficult the way cute grandmothers in a novel of this sort always are. Soon Merle has met, through Lettie, a good-looking pilot named Frank. While Merle’s story is predictable and her “high-strung” zaniness kind of bland, the flashbacks to Ernest and Joannie’s romance have genuine resonance. The two meet in the ’60s in Oklahoma, where he studies unsuccessfully to be an engineer and she’s a precocious 17-year-old working at her father’s cheap motel. Both desperately unhappy, they cling to each other and elope, but, back in Florence, their marriage takes a major hit when Joannie and baby Merle are photographed outside the site of a student bombing at the local college where Ernest works. Although Joannie wasn’t actually involved in the bombing, Ernest loses his job and Joannie begins to drink. Unfortunately, Dalton doesn’t focus on them long enough once the marriage’s dissolution sets in, and readers are stuck with Merle and her inevitable happy ending.
Pleasant narrative, but a first novel even so that lacks any punch.Pub Date: July 8, 2003
ISBN: 0-7434-7018-4
Page Count: 288
Publisher: Atria
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2003
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
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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