A fresh take on a very old story: elegant and enriched with real understanding.
A vivid account of star-crossed lovers in the maelstrom of Middle Eastern politics.
The 77-year-old Israeli author, born in Baghdad, debuts here with a tale set in 1982. In a little house in the Arab quarter of Haifa, narrator Huda lives under one roof with her grandfather, her mother, and her sister Mary. Christians on an island of Muslims surrounded by a sea of Jews, Huda and her family are used to sticking out in the crowd and have long since learned to get by. Huda’s father was dispossessed by the Israeli government in 1948 and her uncles were deported to Jordan for sedition, but Huda works happily for a Jewish travel agency and thinks of herself as more Israeli than Arab. A good thing, too, since Huda’s family is soon thrown into some confusion when their landlord rents out the roof (this is the Middle East, remember) to a Jewish settler from Russia. Alex is a good-natured engineering student who can’t even speak Hebrew (much less Arabic) and seems happiest when he’s practicing his trumpet late at night. Huda’s family is at first suspicious of him, but they are charmed by his simplicity—and they’re won over when he defends them from the murderous advances of Mary’s hoodlum boyfriend Zuhair, who breaks into the house one night and attacks Mary with a knife. Eventually, Alex and Huda fall in love, bringing about not the end of the story but its beginning. For, although Huda’s family are willing to accept her marriage to a Jew, Alex’s mother isn’t approving of the match—and the situation soon becomes even more complicated when Alex signs on with an elite unit of Israeli army commandos just as the Intifada begins to heat up. Will there be a place for Huda and Alex to live happily ever after? The odds aren’t good—but that’s never stopped doomed lovers before.
A fresh take on a very old story: elegant and enriched with real understanding.Pub Date: Aug. 1, 2003
ISBN: 0-7432-4496-6
Page Count: 256
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2003
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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