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
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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