A powerful depiction of the currency of intolerance and addiction in one small town.
In 1997, a Minnesota teenager searches for his mother amid the temptation of sex and drugs.
Strom’s debut novel follows Shane Stephenson, who's trying to find his mother following the sudden death of his father. Shane’s mother abandoned them a long time ago, leaving her son a $100 bill and sending him a Christmas card with a return address in Holm, Minnesota. Shane has long hair and an androgynous appearance, and he clearly doesn’t fit into the small town of Holm, where he's gone looking for his mother. The people there vilify homosexuality, and femininity is not welcome in anyone other than a woman. He quickly meets a group of teenagers that includes Jenny, J, Mary, Sven, and Russell. As it goes with teenagers, the members of the group engage in a series of romances. Sven stands out as the town bully, cruelly attacking Shane both verbally and physically every time he sees him, calling him “faggot” whenever he can, and organizing a parade with his friends dressed in traditional Klan attire holding Confederate flags and screaming for freedom and justice. Although Shane came to Holm with the specific goal of finding his mother, who turns out to have left just over a year ago, he quickly falls prey to the activities of bored teenagers in small towns: He starts up a drunken relationship with Russell, shoots up speed with J as often as he can, and deepens his relationship with Jenny between fixes. Strom paints a portrait of small-town life that is sure to make readers shiver. He sets up a narrative space in which a young boy is looking for his mother and quickly swerves, giving us death, alcohol, addiction, drugs, sex, bigotry, all wrapped up in the neat package that makes up Holm. Shane is heartbreaking, and readers will have a hard time parting with him after the book is over.
A powerful depiction of the currency of intolerance and addiction in one small town.Pub Date: Feb. 12, 2019
ISBN: 978-1-5011-9029-2
Page Count: 272
Publisher: Simon & Schuster
Review Posted Online: Dec. 22, 2018
Kirkus Reviews Issue: Jan. 15, 2019
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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