A Cinderella tale for fat-shamed women that unfortunately misses the mark.
How far will a woman go to lose weight? Acrobat Films intends to find out by hosting an extreme weight-loss program, but they may have chosen the wrong women for their documentary.
Alice signed up for Acrobat Production’s second documentary after ruining her husband Clancy’s awards night. His film, De Facto, lost to Acrobat’s debut: Waisted, the first in a planned trilogy examining women and weight. Worse, Alice’s sheer fatness embarrassed him. When she married Clancy, Alice was thin—thin from heartbreak over her last relationship and then with joy over her newfound love for Clancy. Seven years and countless bags of M&Ms later, she can barely squeeze into a size 18. Desperate and furious with Clancy’s disapproval, Alice is ready to defect to his enemy’s camp. There, at the posh Privation mansion, she joins six other women, including Daphne, a talented makeup artist who ended up at Privation despite her husband’s delight in her every curve. Acrobat’s methods, however, quickly devolve from extreme to degrading. Naked weigh-ins, Machiavellian trainers, Byzantine exercise equipment, starvation rations, and speed (masquerading as not-so-mysterious “vitamins”) quickly melt off the pounds but also break down the women’s psyches. That is, until Alice, Daphne, and their roommate, Hania, decide to fight back. The consequences of Acrobat’s unmasking, however, remain frustratingly unclear. Meyers (The Widow of Wall Street, 2017, etc.) spins a compelling tale, raising critical questions about familial, social, and cultural messages about body image; each woman at Privation, fat-shamed on a daily basis, has lost her sense of self. Yet Meyers’ portraits are also riddled with every stereotype of the overweight American woman, traumatized by well-meaning but bitterly critical mothers and judgmental husbands, stuffing down her emotions with handfuls of sugar and butter. Although Alice, Daphne, Hania, and the other women rebel against Acrobat’s evil plan, their lives post-Privation remain food- and body-size obsessed.
A Cinderella tale for fat-shamed women that unfortunately misses the mark.Pub Date: May 21, 2019
ISBN: 978-1-5011-3138-7
Page Count: 288
Publisher: Atria
Review Posted Online: Dec. 22, 2018
Kirkus Reviews Issue: Jan. 15, 2019
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A tour de force.
In 1974, a troubled Vietnam vet inherits a house from a fallen comrade and moves his family to Alaska.
After years as a prisoner of war, Ernt Allbright returned home to his wife, Cora, and daughter, Leni, a violent, difficult, restless man. The family moved so frequently that 13-year-old Leni went to five schools in four years. But when they move to Alaska, still very wild and sparsely populated, Ernt finds a landscape as raw as he is. As Leni soon realizes, “Everyone up here had two stories: the life before and the life now. If you wanted to pray to a weirdo god or live in a school bus or marry a goose, no one in Alaska was going to say crap to you.” There are many great things about this book—one of them is its constant stream of memorably formulated insights about Alaska. Another key example is delivered by Large Marge, a former prosecutor in Washington, D.C., who now runs the general store for the community of around 30 brave souls who live in Kaneq year-round. As she cautions the Allbrights, “Alaska herself can be Sleeping Beauty one minute and a bitch with a sawed-off shotgun the next. There’s a saying: Up here you can make one mistake. The second one will kill you.” Hannah’s (The Nightingale, 2015, etc.) follow-up to her series of blockbuster bestsellers will thrill her fans with its combination of Greek tragedy, Romeo and Juliet–like coming-of-age story, and domestic potboiler. She re-creates in magical detail the lives of Alaska's homesteaders in both of the state's seasons (they really only have two) and is just as specific and authentic in her depiction of the spiritual wounds of post-Vietnam America.
A tour de force.Pub Date: Feb. 6, 2018
ISBN: 978-0-312-57723-0
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Oct. 30, 2017
Kirkus Reviews Issue: Nov. 15, 2017
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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