Gloomy indeed. And yet this Arab-Israeli newcomer is never once self-indulgent or sentimental, with the result that his...
A quick, readable, highly engaging—and bluntly pessimistic—debut tale of an Arab-Israeli whose life is one of anger, fear, and broken spirit.
“I was the best student in the class,” announces Kashua’s narrator, “the best in the whole fourth grade.” So it’s possible—isn’t it?—that he’ll go far, escape his family’s drab, broken village, be a great success? He does take the very tough exam for admission to a competitive Israeli school, does pass, does get admitted, and does attend—but not successfully. There’s too much shame for him in a boarding school full of Israeli Jews, shame at simple things like not knowing how to use silverware, what music to listen to, not having the right kind of pants, not pronouncing Hebrew correctly, and shame at bigger things, like the scorn, derision, and threat both in school and on the busses that take back home at the end of the week. Kashua offers nothing new so far—mightn’t this be another tale of schoolboy alienation overcome, true merit being demonstrated, acceptance, comradeship, and success following thereby? No, the conflicts, wounds, and humiliations are too many and too deep. The boy’s grandfather died in the war against Zionism, and even his father was a hero in his own college days, imprisoned on suspicion of complicity in blowing up a school cafeteria. And so, for all his brains, the boy, torn between cultures and histories, begins to fail in school, suffer health problems, lose morale. He never does finish college, but ends up as bartender in a seedy club, despising the Arabs who come in to dance, despising even his own wife, the birth of a baby daughter notwithstanding. Life, at novel’s end, remains seedy, undirected, filled with sorrow, failure, and regret.
Gloomy indeed. And yet this Arab-Israeli newcomer is never once self-indulgent or sentimental, with the result that his story rings out on every page with a compelling sense of human truth.Pub Date: May 1, 2004
ISBN: 0-8021-4126-9
Page Count: 240
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2004
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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