Neither the pre-publication publicity nor Coover's exuberant word-riffs can conceal the tiny-mindedness behind this rewrite of early-1950s American history as comic-book mytho-fantasy. The "public burning" is the Ethel & Julius Rosenberg electrocution, here transformed into the Times Square vaudeville-rally that everyone—dodo Ike, "Boy Judge" Kaufman, prosecutor Saypol, and folksy, ballsy "Superhero" Uncle Sam himself—is bloodthirstily, Yahoo-istically waiting for. Justice Douglas' stay-of-execution creates a delay: time for the pinko servants of Sam's arch-enemy ("the Phantom!") to march and picket. And time for pathetic, paranoid Veep R. Nixon, who narrates every other chapter, to rehash the case; to detect parallels between the Rosenberg and Nixon family histories; to realize that "Eth" and "Julie" are "taking the rap for somebody else"; and to lose himself in masturbatory fantasies of earthy Ethel. As the execution-day gala commences—public spanking of Douglas, skits based on the Rosenberg Death House Letters by Astaire & Rogers, Jack Benny, the Marx Brothers—Nixon rushes to Sing-Sing for an erotic encounter with Ethel ("Richard, I could eat you in sheer extremity of feeling!"), tries to divert the the death-hungry Times Sq. horde ("everbody "drop his pants for America!"), precipitates an apocalyptic mob scene, and—after the electrocutions take place as scheduled—is initiated into America's power elite via sodomy by Uncle Sam: a "rendyvoos with destiny ain't no beanbag!" As a novella (the author's original intent), this ingenious scenario would flare, stun, and leave its mark. But Coover's inflationary technique—reduce to a one-liner and then free-associate, allude, and expand like crazy—belabors and betrays the essential gimcrack design. The tone of righteous sarcasm becomes a drone. Chunks of the public record are jazzily ornamented and tossed in. Juicy zingers about TIME and the N.Y. Times are whipped into the consistency of poured concrete. With no human moorings (for all the psycho-portraiture, RMN never graduates from gimmick to character), Coover skids between easy-target satire (Bruce, Sahl, et al. were there first) and melodramatic grandstanding, with no new insights worthy of his remarkable rhetorical talents. A provocative kernel lost in a dazzling, deadening morass: precisely the kind of book more likely to be talked about than read.
Pub Date: Aug. 26, 1977
ISBN: 0802135277
Page Count: 564
Publisher: N/A
Review Posted Online: Feb. 10, 2015
Kirkus Reviews Issue: Aug. 1, 1977
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
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
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