The love child of Fannie Flagg and Rita Mae Brown, Stoner is sure to win her own devoted following with this ravishing debut.
The long, wondrous life of a mostly closeted Texas lesbian, from teenage years in the kitchen at the men's prison to old age in a trailer off RR 23, with the 20th century rolling by in the background.
"My first workday at the Imperial State Prison Farm for men was February 8, 1923." When we meet Miss Dara, she has traveled from her home in West Texas all the way to a prison on the outskirts of a steamy, smelly little town called Sugar Land, near Houston. She is hoping to escape the fallout of her passionate love affair with a girl named Rhodie who comes in to buy eggs at the egg store where Dara works—"how could I not love a girl with a butterfly scarf and a bow with no arrows?" At the prison, Dara meets several characters who will greatly influence her life: the horrible and predatory head cook; a mustachioed co-worker named Beauregard; the Warden, a decent man who will play an unexpectedly large role in Dara's future; and a talented if violent prisoner named Huddie. Huddie Ledbetter turns out to be the real-life musician Lead Belly, who actually was pardoned by the governor for his singing. From these beginnings, the story takes many delightful twists and turns, always described succinctly and colorfully by this narrator, who is irresistible even on days when she's "retaining enough water to grow rice in Arizona." By the end of it, she comes to believe "that each and every life has the number of trials it is destined to have, and if you take one away, another one fills its place….No life is easy and no life is hard; it's just what adjectives you choose to use to describe it." Dara's story is a postcard of small-town Texas life from Prohibition through civil rights, tracing the treatment and awareness of gay people through these decades.
The love child of Fannie Flagg and Rita Mae Brown, Stoner is sure to win her own devoted following with this ravishing debut.Pub Date: Oct. 23, 2018
ISBN: 978-1-59709-627-0
Page Count: 334
Publisher: Red Hen Press
Review Posted Online: July 30, 2018
Kirkus Reviews Issue: Aug. 15, 2018
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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