Hard on the heels of Theft (1989), another Bellow 100-pager in paperback original: this time the tale of one Harry Fonstein, saved from the Holocaust by the underground organization of Broadway impresario Billy Rose (Bellarosa, to the wartime Italians), then later cold-shouldered by the show-biz celeb himself. Having fled the Nazis from Poland to Italy, Fonstein finds himself mysteriously wafted from a Rome jail cell to end up, by a subtle and devious route, endowed with an American wife named Sorella (overweight, a teacher of French) and living successfully as a businessman in New Jersey. Naturally enough, Fonstein wants to meet Billy Rose and express his gratitude ("I owe him my life"), but his calls aren't answered, he's turned away at the office, and once—at Sardi's—he's forcibly prevented from approaching the man himself. Fonstein may or may not be resigned to such unnatural rebuffs, but his persistent wife Sorella certainly isn't. In 1959, she and Fonstein are vacationing in Jerusalem when the rich and famous Billy Rose is there also—dedicating a memorial garden. The obese but passionate Sorella has brought with her the wildly incriminating secret diaries of a disgruntled (and deceased) staff member of Rose's—with which she confronts him, threatening publication if he won't agree "to sit down with my husband for fifteen minutes." Result? No go. Billy Rose won't budge ("Remember, forget—what's the difference to me?"). A moment of laugh-aloud comedy ensues, yet nothing changes: Rose won't see Fonstein, people's lives go on. The narrator of the story—a shirttail relative of Fonstein's who has become rich by running a memory institute in Philadelphia—tries to get back in touch with Fonstein and Sorella 30 years later, casting doubt on his own thesis that "memory is life" and peering into an abyss that the high-rolling Billy Rose ("Tiny, greedy, smart") just may have seen long before him. Subtle, complex, and tricky, a wry-toned look deep into gloom: fine, vintage Bellow in the shorter form.
Pub Date: Oct. 10, 1989
ISBN: 0140126864
Page Count: -
Publisher: Penguin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Sept. 15, 1989
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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