A much-hyped debut from documentary filmmaker Ozeki proves well worth the fuss, as a tale both heartwarming and horrific of two women—one American, one Japanese—curiously allied in a struggle against the determination of the meat industry to make the world safe for hormone-laced American beef. For Jane Tagaki-Little, it’s pay vs. principle; her production job in a TV series for Japanese housewives, My American Wife!, sponsored by US beef exporters, takes her across America, in time giving her the director’s role she covets. But with each segment her knowledge of doctored meat is more at odds with the corporate mandate. Meanwhile, in a Tokyo suburb, Akiko Ueno, wife of the adman in charge of the series, vomits routinely after dutifully preparing for her brutish husband the recipes given on the shows, starving herself and ensuring that she will never have the baby he demands. Only when Jane’s episodes begin to appear, full of remarkable human touches and with nary a beef recipe in sight, does Akiko begin to hope—and to menstruate—again. She faxes Jane on the sly, seeking a way out of her abusive marriage, and learns that Jane plans to use newfound knowledge of feedlot practices to strip big beef to its chemical-laced core. Her husband, already furious with his director for a segment on vegetarian lesbians, discovers what’s afoot and goes ballistic, venting his wrath on Akiko by hospitalizing her before leaving for the States to stop Jane. In turn, a now-pregnant Akiko leaves him herself to go see Jane, who, following revelations at the feedlot exceeding her worst nightmares, has had a miscarriage and lost her job—and stands to lose the love of a man she barely knows but badly wants.. Character gems and exquisite plotting make this a treasure to read, but the real sizzle is in the take on beef: grilled between Oprah and Ozeki, every burger now deserves a long, hard look. (Book-of-the-Month Club alternate selection; Quality Paperback Book Club selection; author tour)
Pub Date: June 1, 1998
ISBN: 0-670-87904-5
Page Count: 352
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1998
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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