Well-researched, violent as always: an excellent addition to what’s becoming a promising series of thrillers.
Renegade SS officer exacts vengeance on the cop who gave him so much trouble during the war.
Leaving his earlier Twin Cities settings, Thayer (Saint Mudd, 1992, etc.) returns to little Kickapoo Falls, Wisconsin, and to Deputy Pennington, the WWII sniper who starred in Wheat Field (2002). It’s now 1963, and Pennington is running for sheriff—tricky, given that he’s a Catholic in an overwhelmingly Protestant region and also that he drags more than a few rumors behind him—just as a sniper takes out two local residents. The first is a railway engineer, shot in his train from such a distance that sharpshooter Pennington is the prime suspect. Next is the engineer’s wife, a lonely beauty who used to invite Pennington over for canoodling (also tricky, since Pennington has been unable to, well, function since the war). Though he takes his sweet time saying so, Pennington is sure who the shooter is: Colonel Wolfgang Stangl. Your prototypic aristocrat SS sadist, Stangl imprisoned Pennington after he’d been parachuted into Germany to wreak some havoc with his sniper rifle on the critical rail junction of Wolf Pass (his first kill was an engineer on a train), which was under Stangl’s purview. Nobody, of course, believes that an SS killer is really stalking Pennington, especially not his opponent in the sheriff’s race, who’s backed by the Gunn Club and its wealthy German-American—and Nazi-sympathetic—followers. Add to all this the gorgeous female Scotland Yard inspector who shows up to help Pennington, and Pennington’s suspicion that Stangl is leading up to an assassination attempt on President Kennedy, with whom Pennington is soon to attend a Mass in St. Paul. Thayer puts his usual mix of whipcrack pacing and sexual obsession (“It seems like all the women in Kickapoo County had big tits”) to fine use in this local noir.
Well-researched, violent as always: an excellent addition to what’s becoming a promising series of thrillers.Pub Date: March 1, 2003
ISBN: 0-399-14991-0
Page Count: 304
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2003
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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