Mumblecore fiction—a fiction of very low expectations—from Ison (The List, 2007, etc.), co-writer of the film Don’t Tell Mom...
A troubled woman from San Diego travels to Rockaway, N.Y., to make art and finds herself instead.
Mumblecore was coined to describe a type of film often peopled with 20-something nonprofessional actors who portray inarticulate characters with low self-esteem, poor luck in love and difficulty growing up. This book is representative of contemporary fiction with similar tropes. At 35, Sarah is older than the typical mumblecore cohort—but how she struggles. When a dealer promises an exhibition, she quits her job in San Diego and moves East for the summer, taking up residence in her old friend Emily’s grandmother Pearl’s large home in Rockaway. Her plan is to escape her needy, aging parents and paint a show’s worth of pictures. Nana Pearl is out of the house, recovering from hip-replacement surgery, but a Sri Lankan couple, Avery and Bernadette, remain as caretakers, their cooking and too-loud talk disturbing the fragile, guilt-ridden artiste. Sarah meets older men Julius and Marty, the former an uncle of Emily. Sarah goes out with Julius, a blowhard banker, and then with Marty, a self-absorbed old rock-and-roll type recently returned to his Jewish roots. Marty invites her to Passover with his orthodox friends and to Rye, N.Y., for a reunion concert with his old band. Sarah stays briefly with her friend, pregnant Emily, wife of a banker, who lives the life of a luxurious hippie on an estate in Connecticut. The resolution is consistent with the rest of the book: It is all about Sarah’s feelings.
Mumblecore fiction—a fiction of very low expectations—from Ison (The List, 2007, etc.), co-writer of the film Don’t Tell Mom the Babysitter’s Dead.Pub Date: June 11, 2013
ISBN: 978-1-59376-516-3
Page Count: 208
Publisher: Soft Skull Press
Review Posted Online: March 2, 2013
Kirkus Reviews Issue: March 15, 2013
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
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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