Poet Cotler’s (Sonnets to the Humans, 2012, etc.) affecting, lyric novel is a long letter from writer Rider Sonnenreich to his sister Leya, its subject nothing less than the mind of an artist.
Both Rider and his sister repeatedly suffered “glimmers” (seizures) as children, and Leya has come to represent something of Rider’s muse, a complicated, ephemeral figure whom he doesn’t wholly understand, yet he’s drawn to her and makes her the subject of his art. She exists mostly in the folds of his memory, though, and readers learn in the opening pages that she has disappeared to Europe, of which Rider remarks: “It’s beautiful enough.” At the behest of his mother, he bums around different European cities, supposedly looking for her but finding instead a variety of bohemians whom he regards like a poet. When he eventually reconnects with her, his memory blends with her present incarnation, which involves dissociation and a bathtub slicked with vomit. Readers looking for a tidy travel narrative should look elsewhere; one scene here takes place in “Gigot’s annex,” full of slightly stoned Italians and expats, and Rider imagines himself there as a boy who would “squat in the corner and cover [his] ears” if given his way. In the same scene, he reveals that he “wouldn’t mind becoming sharper, crazy I mean, not weak-minded crazy. Subtle disconnections.” It’s the voice of a poet in Europe: romantic and sarcastic to the bone, simultaneously jaded and full of wonder. Featuring this kind of overt meditation that’s often on a writer’s mind can be risky, but Cotler pulls it off, injecting feeling into each image, each response, each gesture. It’s no slight to call this a poet’s novel—its narrative thrust is a lyrical one, its strengths are its precision of thought and image, variety of prose and the depth of its meditations. The novel is addressed to the sister, in second person, casting the reader as a voyeur. Or is it really the reader who is addressed, cast as the sister, to whom the poet addresses his interior missives? Cotler stays one step ahead: “Art, I guess, can unintentionally insult the viewer by presuming to include him.” A beautiful, disturbing portrait of an artist.
Pub Date: Dec. 10, 2013
ISBN: 978-1849822459
Page Count: 224
Publisher: MP Publishing
Review Posted Online: Nov. 29, 2013
Kirkus Reviews Issue: Jan. 1, 2014
Review Program: Kirkus Indie
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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