A bilious fictional examination of the perverse relationship between a presidential candidate too good to be true and a newspaper reporter whose insecurities and uncanny nose for news bring doom and gloom to the campaign trail. Much of this humorless, darkly solemn first novel is evidently based on personal experience: Karaim, a Washington journalist for the Miami-based Knight-Ridder newspaper chain, covered the 1992 Democratic campaign and revels in the cynicism, monotony, lost luggage, and stale odors that envelope a cadre of journalists whose job it is eat, drink, and merrily cling to the candidate’s every word and gesture. Illinois Senator Thomas Hart —Saint Thomas— Crane is as good as they come: an intelligent, sincerely compassionate liberal Democrat who hasn’t forgotten the despair of his lower-class, coal-town upbringing. Terminally brooding journalist Cliff O’Connell, suffers from career burnout (at age 33) and the untimely departure of his lover, Robin Winters, now a strategist in the Crane machine. Though the two meet for some passionate tumbles, Karaim avoids the pot-boiling, bed-hopping high jinks of current political romans Ö clef and instead contrasts Crane’s dogged determination to be the hero the voting public wants with O’Connell’s relentless attempt to find himself in the subject he’s covering. When Crane tells voters that he never lies, the suspicious reporter pokes around the senator’s Illinois hometown and discovers a secret that could ruin him. Despite a teary plea from Robin, O’Connell prints the truth, then masochistically stays with the campaign as public condemnation of Crane slowly simmers into an angry backlash at the news media for revealing an aspect of his character that may not have been so bad after all. Can the electorate, with its need to idolize, and the media, with its need to slay the celebrities it creates, ever grasp the truth about political leaders? Though he ducks the answer with an inevitable—and much too convenient—tragic end, Karaim deserves credit for asking.
Pub Date: May 12, 1999
ISBN: 0-393-04780-6
Page Count: 320
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1999
BOOK REVIEW
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
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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