An abstracted and loose minor work that only glancingly addresses the author's favorite themes.
Two young writers attempt to crack Mexico City’s literary culture with whatever it takes, including earnest letters to science-fiction icons.
This brief, curious, posthumous novel by Bolaño (1953-2003; 2666, etc.), written circa 1984, can be read as a kind of rehearsal for his 2007 breakthrough, The Savage Detectives. Like that novel, this one features a pair of writers, Jan and Remo, who are determined to comprehend the literary culture they’re so passionate about. Jan, an alter ego for Bolaño himself, is more introverted, translating poems and writing fan letters to the likes of Robert Silverberg, Ursula K. Le Guin, James Tiptree Jr., and others. Remo, by contrast, engages with a writing workshop, though he seems to spend less time writing then he does pursuing relationships and investigating the curious explosion of literary magazines in the city from 32 titles to 661. Whether they resolve the mysteries of either literary production or women is beside the point, though; the novel is designed more as a series of set pieces from the pair’s lives than a clear narrative, which leaves room for plenty of riffs about writers hungry to make names for themselves. (“In London, teenagers play for a few months at being pop stars,” one scholar tells Remo. “Here, as you might expect, we seek out the cheapest and most pathetic drug or hobby: poetry, poetry magazines; that’s just the way it is.”) The main storyline is interspersed with dialogue from an interview with an unnamed award-winning writer, rambling on tomes about potato farming and science-fiction plots. It’s unclear if Bolaño didn’t finish this novel or deemed it unfit for publication, but either way it’s an unshaped apprentice work, hinting at his particular brilliance—emotional expansiveness, dry humor, passion for the intersection of words and life—but only sketching it out.
An abstracted and loose minor work that only glancingly addresses the author's favorite themes.Pub Date: Feb. 5, 2019
ISBN: 978-0-7352-2285-4
Page Count: 208
Publisher: Penguin Press
Review Posted Online: Nov. 11, 2018
Kirkus Reviews Issue: Dec. 1, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
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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