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HOW I BECAME A FAMOUS NOVELIST

A satiric, facetious and laugh-out-loud funny first novel.

Masterly how-to advice from TV comedy writer Hely’s fictional narrator about creating a bestseller—no, make that a “literary product.”

Hey, anybody can write a novel, right? That’s the thought going through Pete Tarslaw’s head when he reads about Preston Brooks’ bestseller Kindness to Birds. Tarslaw’s goals as a novelist can be reduced to a few simple wants: fame, money and getting a few hot chicks on the side. Tarslaw also has a more concrete goal—to humiliate his former girlfriend Polly at her wedding, upstaging her by arriving as a Famous Novelist. Although he sets to work avidly, keeping his eye on a few rules (abandon truth, do not waste energy making it a good book, at dull points include descriptions of delicious meals), he finds that writing a novel is hard work, and he doesn’t quite know how to get going. “Do you just start writing sentences?” he says. “That seemed a bit rash.” Fueled by an experimental pharmaceutical provided by his roommate, he manages to write his magnum opus, The Tornado Ashes Club. He eagerly plans to watch it rise meteorically on Amazon.com and even fantasizes laudatory reviews (“Love, loss, and the soul of truth are explored when a wrongly accused man goes on a road trip with his grandmother and a Mexican folksinger”). The reality, however, is somewhat different. As one respected reviewer comments, “It’s much like a Las Vegas buffet: everything’s there, but none of it’s very good.” Doesn’t matter, though, for the novel becomes something of a cult hit, especially after our hero trashes Preston Brooks’ reputation by accusing him of the very fault Tarslaw himself is guilty of: turning writing into a formulaic con game foisted on a naïve and unsuspecting reading public. In a sobering moment, Brooks defends himself against Tarslaw’s puerile comments.

A satiric, facetious and laugh-out-loud funny first novel.

Pub Date: July 1, 2009

ISBN: 978-0-8021-7060-6

Page Count: 224

Publisher: Black Cat/Grove

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 2009

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ANIMAL FARM

A FAIRY STORY

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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THE HANDMAID'S TALE

Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

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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

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