A compelling first novel by the Canadian Lee that tries to do for Asian-Canadian women what Amy Tan and Maxine Hong-Kingston have done for their Asian-American counterparts: give mythical shape to the experiences of immigration, assimilation, and struggle for identity in the West. Kae Ying Woo narrates this tapestry-like story, which traces three generations of the Asian-Canadian Wong family. The book opens with a recollection of the settler experiences of Kelora Chen, a half-native/half-Chinese, and the Wong family patriarch, Wong Gwei Chang, who in 1892 left China to find his fortune in North America. Kelora's heroic act of saving Wong's life symbolizes almost too obviously the great strength and struggle of the women who follow in their family line. Their lives revolve around the Disappearing Moon Cafe, the largest restaurant in Vancouver's Chinatown, operated by the overbearing matriarch Lee Mui Lan. Within her domain are Fong Mei, Lee's abused daughter-in-law, who is tormented for not rendering children to Lee's son; Seto Chi, Malaysian born, sold out of her family at birth because of the superstition that girl babies are bad luck; Beatrice, Kae's own mother, who breaks Chinese tradition by marrying a man of whom her family disapproves. Lee's theme is that these women endured a double discrimination—on the one hand, from the ``white-devils'' of the West, who limited their immigration and restricted their work choices, and, on the other, from patriarchal Chinese customs. The obvious feminist message fortunately includes large doses of wit and humor. Lee successfully combines magic realism and epic sweep in the fast-moving story, which should inspire mainly fans of the increasingly popular literature of Asian-American writers.
Pub Date: Oct. 1, 1991
ISBN: 1-878067-11-7
Page Count: 237
Publisher: Seal Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1991
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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