Although Goldschmidt gives him a distinctive, if repellent voice, Mordechai reports the events of his life in a deadening...
Dutch author Goldschmidt’s first novel, an attempt to fictionalize the history of a Dutch pharmaceutical company that survived World War II although it was owned by Jews, offers a less than savory view of business ethics.
Twin brothers Mordechai and Aaron De Paauw inherit the family butcher business in the early 1920s when they're only 27. Ambitious Mordechai is soon running things while mild-mannered, morally upright Aaron remains in the background. In 1923, Mordechai teams up with Rafaël Levine, a Jewish scientist from Germany, to found Farmacon, which will manufacture insulin from animal pancreas excretions. The partnership flourishes, making scientific discoveries and lots of money, although Mordechai chafes at Levine’s efforts to hire as many German-Jewish refugees as possible. Ironically, Mordechai marries Rivka, the daughter of one of the German scientists, who bears him four daughters and a son. Meanwhile, Mordechai, a self-styled ladies' man, enjoys summoning female employees to his office to “seduce” them and wonders at Aaron’s lack of sex drive. Without Levine’s knowledge, Mordechai arranges for his brother to test out the testosterone Farmacon has been developing. The result drives Aaron temporarily insane with lust, and he goes to prison in 1938 without divulging Mordechai’s culpability. As the Nazis arrive, Mordechai escapes Holland with his family although Rivka, having learned about Mordechai’s predatory sexual activities, ends their marriage. But Mordechai’s primary concern is Farmacon’s continuing growth even as the war rages and those he left behind suffer. Returning to the postwar Netherlands, he breaks with Levine because Levine’s German (though Jewish) background might hurt business. Rivka, Aaron and Levine have all become fodder for Mordechai’s greed. Even as an old man approaching death, he has no epiphany to leaven the reader’s perception that he is a narcissistic creep.
Although Goldschmidt gives him a distinctive, if repellent voice, Mordechai reports the events of his life in a deadening follow-the-dots style that does nothing to mitigate the novel’s simplistic portrayal of nobility versus capitalist evil.Pub Date: Nov. 11, 2014
ISBN: 978-1-59051-649-2
Page Count: 267
Publisher: Other Press
Review Posted Online: Aug. 24, 2014
Kirkus Reviews Issue: Sept. 15, 2014
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
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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