A speculative, menacing thriller that asks, “Who are you supposed to be?”
Image, celebrity, truth and consequences all come to a head in this wild satire of a future where everybody can get Warhol’s 15 minutes of fame anytime they need a fix.
A reader would be forgiven for mistaking this razor-sharp sendup for fan fiction at first glance: An unnamed narrator cruises a Beverly Hills soiree, mingling with Jackie O., Freddie Mercury, Evel Knievel and Sid Vicious, among many other celebs. Instead, this fourth novel from comedy virtuoso Browne (Lucky Bastard, 2012, etc.) turns out to be a smart and darkly funny thriller that looks at America’s obsession with celebrity through a truly skewed lens. Our narrator turns out to be head of investigations for a company called Engineering Genetics Organization and Systems, and it makes one consumer product: “Big Egos.” Using genetically modified DNA, the company’s drugs can turn people into a virtually flawless simulation of their favorite dead celebrity or fictional character for up to six hours. Drop a couple thousand dollars and head out for the night as Captain Kirk, Elvis Presley or James Bond—and our narrator has tested thousands of them during his tenure. But things are starting to come apart at the seams with his girlfriend, Delilah, who just can’t seem to stand being herself anymore, and his best friend, Nat, who shuns the drugs at first but then takes to them like an addict. When black-market copies of the Big Egos start killing users, our hero has to use all his wits to get to the root of a nefarious scheme whose origins may be uncomfortably close to home. Browne’s gifts are manifold, and his combination of witty conceptual twists and fast-paced plot and narration are unique. The barrage of pop-culture references may be off-putting, but readers who get the idea should dig it.
A speculative, menacing thriller that asks, “Who are you supposed to be?”Pub Date: Aug. 6, 2013
ISBN: 978-1-4767-1167-6
Page Count: 384
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: June 21, 2013
Kirkus Reviews Issue: July 1, 2013
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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