by Richard Wright ‧ RELEASE DATE: Jan. 8, 2008
Wright did not live to resolve the dilemma thus created. Furthermore, A Father’s Law is astonishingly awkwardly written, and...
When Richard Wright (1908–60) died, much too young and essentially a stranger in his own country who had found a more congenial “home” in postwar Paris, he was remembered, if at all, as a transitional figure. Between the handful of respected black American authors (such as Charles W. Chesnutt, Claude Mackay and Langston Hughes) and the later, more abrasive achievements of James Baldwin, Toni Morrison, John Edgar Wideman and others, there were Wright’s major books. His powerhouse debut novel Native Son, the bitter short stories collected as Uncle Tom’s Children, the impassioned autobiography Black Boy—all now enshrined in the Library of America—bore electrifying witness to the enduring relevance of a writer who made it his life’s mission to dramatize his people's struggles against racist intolerance and injustice.
Now comes A Father’s Law, a never-before-published, unfinished novel. The book was written during Wright’s last illness, which perhaps explains its ungainly, virtually inchoate state. In an introduction to the work, Wright’s daughter, Julia, candidly describes it as a “faulty, sketchy, sometimes repetitive draft.” The book attempts something genuinely new in his oeuvre—a metaphysical crime thriller—and it eerily echoes its author’s own experience. The story begins when veteran black Chicago policeman Rudolph “Ruddy” Turner is summoned to his station late at night and informed that he has been appointed Police Chief. The complication: A series of unsolved murders in the “independent municipality” of Brentwood Park, a hotbed of gambling, prostitution and worse, has become a number-one police priority. Ruddy’s problems are exacerbated at home, in his troubled relationship with his college-age son Tommy, a gifted student and athlete whose renegade intellect questions the legitimacy of laws his father is sworn to uphold—and gradually raises Ruddy’s suspicions that Tommy is implicated in the murders. For Tommy, like the young Richard Wright, has broken off his engagement to a girl afflicted with congenital syphilis (the story is briefly told in Michel Fabre’s 1993 biography The Unfinished Quest of Richard Wright). Was Tommy driven to crime, his father agonizes? Or was he attempting to seek punishment he felt he deserved, even for crimes he did not commit?
Wright did not live to resolve the dilemma thus created. Furthermore, A Father’s Law is astonishingly awkwardly written, and would surely not have been offered for publication without major revisions. Still, it lurks in Wright’s harsh oeuvre: a perhaps impenetrable enigma. We cannot salute it as major, even as significant work. But we can understand why Julia Wright thought we needed to see it.Pub Date: Jan. 8, 2008
ISBN: 978-0-06-134916-4
Page Count: 288
Publisher: Perennial/HarperCollins
Review Posted Online: May 19, 2010
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by Margaret Atwood ‧ RELEASE DATE: Feb. 17, 1985
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
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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
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by George Orwell ‧ RELEASE DATE: Aug. 26, 1946
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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