In this debut novel, characters affected by "the cruelty of carelessness" nonetheless make the best of what they get.
Debut author Kauffman examines the lives of working-class characters connected to Buffalo, New York, in a novel of loosely linked stories.
A father attempts to be a good parent when his daughter visits for the summer but gets an ultimatum from his girlfriend: either the kid goes or she does. He chooses the girlfriend, and the ramifications of this decision echo through the book in subtle ways. The novel is composed of short, storylike chapters, many told from the points of view of minor characters. We see the girl, Tracy, first through the eyes of her father's resentful girlfriend and later the girlfriend of a cousin. But gradually the connections deepen. As we follow Tracy from childhood to adulthood, she searches for love and purpose. Kauffman's compassion for her lonely characters is evident. At an ill-fated holiday gathering, Tracy watches her cousin Shelly "looking, as usual, like she was a woman who really knew how the world worked." Another divorced father, unsure of his ability to parent, feels "a private, throbbing panic" when his son throws his arms around him at the Shamu show at Sea World. Later he finds himself comforted by a chirping cricket and a loaf of banana bread as he tries to "become a man who finally deserved the things he once had." A character takes his ancient, sedated cat, Monkey, for a ride on a Ferris wheel. As he explains at the vet's, he asked for a monkey when he was 10, but "I got what I got." "We all get what we get, don't we?" the woman said. "No matter what we ask for." One misstep is the mysterious Native Americans who appear periodically, laconic and stoic, to deliver some of the novel's best lines. Tracy's father reveals he's dying of cancer to a stranger who tells him that death could be "just another place you've never been."
In this debut novel, characters affected by "the cruelty of carelessness" nonetheless make the best of what they get.Pub Date: Oct. 11, 2016
ISBN: 978-1-59376-656-6
Page Count: 204
Publisher: Soft Skull Press
Review Posted Online: July 18, 2016
Kirkus Reviews Issue: Aug. 1, 2016
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
Pevear's informative introduction and numerous helpful explanatory notes help make this the essential Anna Karenina.
The husband-and-wife team who have given us refreshing English versions of Dostoevsky, Gogol, and Chekhov now present their lucid translation of Tolstoy's panoramic tale of adultery and society: a masterwork that may well be the greatest realistic novel ever written. It's a beautifully structured fiction, which contrasts the aristocratic world of two prominent families with the ideal utopian one dreamed by earnest Konstantin Levin (a virtual self-portrait). The characters of the enchanting Anna (a descendant of Flaubert's Emma Bovary and Fontane's Effi Briest, and forerunner of countless later literary heroines), the lover (Vronsky) who proves worthy of her indiscretion, her bloodless husband Karenin and ingenuous epicurean brother Stiva, among many others, are quite literally unforgettable. Perhaps the greatest virtue of this splendid translation is the skill with which it distinguishes the accents of Anna's romantic egoism from the spare narrative clarity with which a vast spectrum of Russian life is vividly portrayed.
Pevear's informative introduction and numerous helpful explanatory notes help make this the essential Anna Karenina.Pub Date: Feb. 1, 2001
ISBN: 0-670-89478-8
Page Count: 864
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2001
PERSPECTIVES
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