This novel reminds us that the more things change, the more they stay the same.
Revisiting Huckleberry Finn's America—by picking up where Mark Twain left off.
Coover’s 11th novel borrows its protagonist—and its inspiration—from The Adventures of Huckleberry Finn, but don’t be deceived: this is less pastiche or sequel than a project with deeper roots. Taking place in the Dakotas during the decade after the end of the Civil War, the book follows Twain’s eponymous protagonist, now an adult, through a series of misadventures, including a turn as a Pony Express rider, some time spent living among the Lakota Sioux, and a difficult engagement with Gen. George Armstrong Custer and his 7th Cavalry Regiment, which ultimately met its fate at the Battle of the Greasy Grass. If such a setup seems reminiscent of Thomas Berger’s novel Little Big Man (1964), however, Coover has something more than satire on his mind. Rather, he is out to deconstruct not a genre but American literary iconography. In his telling, Tom Sawyer, who keeps turning up like a bad penny, has long since ceased to be a charming bad boy; he is now a zealot for public hangings and worse. “Anyways, Huck,” he explains, “EVERYTHING’S a hanging offense. Being ALIVE is. Only thing that matters is who’s doing the hanging and who’s being hung.” Becky Thatcher, meanwhile, abandoned by Tom when she was six months pregnant, has become a prostitute. These are not gratuitous turns but extrapolations based on the characters’ limited possibilities in a world defined by brutality. Coover effectively mirrors Twain’s style and Huck’s voice as well as the peripatetic movement of the original. More to the point, though, he is after a consideration, or critique, of the narrative of westward expansion, in which American hegemony was recast as opportunity and morality became an inconvenient truth at best. “We ARE America, clean to the bone!” Tom enthuses to his erstwhile friend late in the novel. “A perfect new Jerusalem right here on earth!.…They call us outlaws because they say we’re on tribal land, so we got to show our amaz’n American PATRIOTICS! These lands is rightfully OURN and we’re going to set up a Liberty Pole and raise the American flag on it to PROVE it!”
This novel reminds us that the more things change, the more they stay the same.Pub Date: Jan. 10, 2017
ISBN: 978-0-393-60844-1
Page Count: 320
Publisher: Norton
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
IN THE NEWS
IN THE NEWS
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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
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