A novel this ambitious could use a little more moral nuance, as the characters are either all good or (in most cases) all...
Montefiore’s (The Romanovs, 2016, etc.) World War II novel traces 10 eventful days in the life of Benya Golden, a Russian political prisoner who has joined the fight against the Nazis.
It's July 1942, and the Russian army is in disarray: though they are still officially on the Allied side, many soldiers have defected and joined the fight for Hitler. But Russians on both sides, as depicted by Montefiore, are invariably monsters who rape and murder at the slightest provocation. So it makes little sense that Golden, a writer in his 40s who's been a prisoner and a soldier but has never killed anyone, has survived to this point—especially since his regiment of prisoners is deemed expendable by Stalin and sent on a series of suicide missions. The book doesn’t really come to life until the middle, when Golden, who has strayed from his regiment and been wounded, falls in love with Fabiana, the Italian nurse who saves his life. Pursued as a Jew by the Nazis and as a defector by the Allies, Golden must choose between losing his love and endangering her life. This gives the book all the romance it needs, but Montefiore also adds a subplot in which Stalin’s daughter falls in love with a wartime journalist. These sections underline his point about Stalin’s brutality but are sentimentally written and do little to advance the story.
A novel this ambitious could use a little more moral nuance, as the characters are either all good or (in most cases) all evil. Yet the gritty war scenes and the lovers’ pursuit keep the pages turning.Pub Date: Jan. 2, 2018
ISBN: 978-1-68177-673-6
Page Count: 416
Publisher: Pegasus
Review Posted Online: Sept. 27, 2017
Kirkus Reviews Issue: Oct. 15, 2017
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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