This is a big character-driven epic, though it’s overinflated in its pronouncements about its setting.
A group of young men and women aggressively affected by the post–9/11 world reconverge in their Ohio hometown.
Markley’s (Tales of Iceland, 2013, etc.) flagrantly symphonic debut novel is effectively four linked novellas, with each section circling around a high school friend or acquaintance of Rick, who was killed in action in Iraq. Each person has hit on hard times in their 20s, and on one evening in their hometown of New Canaan, they’re laboring to set things right. Bill has an omnivorous drug habit and is hauling a plainly illicit but unidentified (until the climax) package north from New Orleans; Stacey wants to confront the homophobic mother of her high school girlfriend; Dan is an Afghanistan war vet who wants to catch up with an old flame; and Tina has a score to settle with the jock who sexually abused her in high school. Markley is a knockout storyteller, infusing each section with realistic detail, from the drudgery of Walmart work to war to the fleeting ecstasies of drugs to violence, especially self-harm. (Tina’s section is especially tough reading on that last front.) High school, Markley writes, provided “stories of dread and wonder you could wrap whole novels around,” and he’s followed through. There's an unsettling feeling, though, that while he’s mastered complex characterization, it’s often in service of simplistic broader portraiture about the Rust Belt. New Canaan, “sclerotic in every capacity,” is doom-and-gloom to the edge of caricature: Its economy is rotted and shored up on meth and disability checks, its community reduced to pro-Trump resentment and anti-Muslim anger. The culture Markley describes unquestionably exists, and strong novels about America’s underclass are lamentably thin on the ground. But this novel is best appreciated as a set of portraits rather than (as the title suggests) a definitive statement about an entire state.
This is a big character-driven epic, though it’s overinflated in its pronouncements about its setting.Pub Date: Aug. 21, 2018
ISBN: 978-1-5011-7447-6
Page Count: 496
Publisher: Simon & Schuster
Review Posted Online: May 27, 2018
Kirkus Reviews Issue: June 15, 2018
BOOK REVIEW
PROFILES
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
Too much drama at the end detracts from a finely wrought and subtle conundrum.
Ware (In A Dark, Dark Wood, 2015) offers up a classic “paranoid woman” story with a modern twist in this tense, claustrophobic mystery.
Days before departing on a luxury cruise for work, travel journalist Lo Blacklock is the victim of a break-in. Though unharmed, she ends up locked in her own room for several hours before escaping; as a result, she is unable to sleep. By the time she comes onboard the Aurora, Lo is suffering from severe sleep deprivation and possibly even PTSD, so when she hears a big splash from the cabin next door in the middle of the night, “the kind of splash made by a body hitting water,” she can’t prove to security that anything violent has actually occurred. To make matters stranger, there's no record of any passenger traveling in the cabin next to Lo’s, even though Lo herself saw a woman there and even borrowed makeup from her before the first night’s dinner party. Reeling from her own trauma, and faced with proof that she may have been hallucinating, Lo continues to investigate, aided by her ex-boyfriend Ben (who's also writing about the cruise), fighting desperately to find any shred of evidence that she may be right. The cast of characters, their conversations, and the luxurious but confining setting all echo classic Agatha Christie; in fact, the structure of the mystery itself is an old one: a woman insists murder has occurred, everyone else says she’s crazy. But Lo is no wallflower; she is a strong and determined modern heroine who refuses to doubt the evidence of her own instincts. Despite this successful formula, and a whole lot of slowly unraveling tension, the end is somehow unsatisfying. And the newspaper and social media inserts add little depth.
Too much drama at the end detracts from a finely wrought and subtle conundrum.Pub Date: July 19, 2016
ISBN: 978-1-5011-3293-3
Page Count: 352
Publisher: Scout Press/Simon & Schuster
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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