Quietly passionate, imbued with a subtle understanding of how the personal and political intertwine: another fine effort...
O’Nan’s aptly titled sixth novel explores a Pittsburgh neighborhood with the same nonjudgmental empathy and respect for ordinary folks already evident in his first, Snow Angels (1994).
People in East Liberty have very mixed feelings about the Martin Robinson Express Busway. It will supposedly bring jobs, and it’s named after a black congressman who’s done a lot for the community, but it’ll also cut off the African-American area from the rest of Pittsburgh. Moreover, it was the scene of a bad accident before it even opened. Spray-painting an unfinished walkway, two teenaged graffiti artists fell: Bean was killed, and his friend Crest was paralyzed. Crest is one of the central characters in a narrative that roves through East Liberty to weave individual memories and dreams into a collective portrait. Crest’s father, Harold, struggles to get over an affair with a younger man, while wife Jackie seethes. Older brother Eugene, recently out of prison and newly religious, is trying to build a life without drugs or violence, though he fails to save his junkie friend, Nene, or Nene’s angry younger brother. Vanessa, who broke up with Crest shortly before the accident, raises their son and holds down a job while taking a college course on African-American culture more out of a sense of duty than any burning interest. Crest, though never a good student, has a stronger sense of his heritage; he plans to portray members of the community and other blacks who have given their lives for their people in a painting that ultimately becomes the author’s moving symbol of art’s power to celebrate the spirit of those society prefers to ignore. Although O’Nan limns Crest’s consciousness in the hip-hop rhythms of young urban black speech, he chronicles other characters’ thoughts in more conventional language, emphasizing the variety of African-American lives and the similarity of their aspirations to those of any other ethnic group.
Quietly passionate, imbued with a subtle understanding of how the personal and political intertwine: another fine effort from an always-intriguing writer.Pub Date: Feb. 1, 2001
ISBN: 0-8021-1681-7
Page Count: 288
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2000
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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