Pynchon is both wordsmith and world-smith. He's Dickens with degrees in chemistry and mathematics, Dostoevsky with a...
History and its discontents figure as prominently in Thomas Pynchon's formidably brainy novels as do most of the sciences and pseudo-sciences. He entered our consciousness as a learned hipster almost immediately, in the early story "Entropy," a phlegmatic consideration of the heat death of the universe, and in the ironic epic V (1963), a tale of parallel searches for a mysterious woman whose despairing momentum is mitigated by the stoical mantra "Keep cool, but care."
The combination of a rationalist's fatalism with a romantic's reverence for human creativity and resilience took brilliant form in a trim fable of conspiracy and disinformation linked to an "underground" postal system (The Crying of Lot 49, 1965); the massive Melvillean Gravity's Rainbow (1973), in which the science of modem warfare walks arm in arm with Armageddon; and the fetching fictional contrast between two legendary surveyors' efforts to map a new world and the redirection of scientific and technical innovations to serve agendas of conquest and exploitation (Mason & Dixon, 1997). Pynchon now blends the yeasty period style of his most recent novel with the encyclopedic chutzpah of Gravity's Rainbow as he reaches back to the late-19th century and the origins of the first global götterdämmerung to be designated a World War. Its array of parallel plots begins in the air, aboard a "hydrogen skyship" carrying an aeronautics club, the Chums of Chance (whose adventures inspire a series of dime novels), toward Chicago and the 1893 World's Columbian Exposition. The image of adventurous progress thus created is then systematically dismantled by a series of ventures into increasingly dangerous territories. Colorado miner Weeb Traverse opposes perceived injustice with acts of anarchy (which soon looms as the very Spirit of the Age), initiating a pattern of exile and antagonism that will engulf all his loved ones. Weeb's son Kit, Yale-educated and severed from his roots, travels compulsively, moving across continents and through successive zones of conflict, into the heart of his deepest longings and fears. Dozens of other characters – adventurers, spies, research scientists, disoriented celebrities and dedicated agents of the 20th century's culture of death – meet, recombine and redefine themselves. Revolutions break out in Russia and Mexico; ultimate weapons are built and deployed; and natural disasters (such as the 1908 explosion of a comet above the Siberian wasteland) eerily increase and multiply.
Pynchon is both wordsmith and world-smith. He's Dickens with degrees in chemistry and mathematics, Dostoevsky with a fondness for dumb jokes and awful puns, Faulkner with an even more pronounced apocalyptic imagination. Master of the knowledge he has acquired and the worlds he surveys, he challenges us to envision with him an opaque and threatening future, while mourning perversions of humanity's accomplishments and aspirations, fearing the worst, and laughing all the way.Pub Date: Nov. 21, 2006
ISBN: 1-59420-120-X
Page Count: 1120
Publisher: Penguin Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2006
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
Rather than settle for a coming-of-age or travails-of-immigrants story, Hosseini has folded them both into this searing...
Here’s a real find: a striking debut from an Afghan now living in the US. His passionate story of betrayal and redemption is framed by Afghanistan’s tragic recent past.
Moving back and forth between Afghanistan and California, and spanning almost 40 years, the story begins in Afghanistan in the tranquil 1960s. Our protagonist Amir is a child in Kabul. The most important people in his life are Baba and Hassan. Father Baba is a wealthy Pashtun merchant, a larger-than-life figure, fretting over his bookish weakling of a son (the mother died giving birth); Hassan is his sweet-natured playmate, son of their servant Ali and a Hazara. Pashtuns have always dominated and ridiculed Hazaras, so Amir can’t help teasing Hassan, even though the Hazara staunchly defends him against neighborhood bullies like the “sociopath” Assef. The day, in 1975, when 12-year-old Amir wins the annual kite-fighting tournament is the best and worst of his young life. He bonds with Baba at last but deserts Hassan when the latter is raped by Assef. And it gets worse. With the still-loyal Hassan a constant reminder of his guilt, Amir makes life impossible for him and Ali, ultimately forcing them to leave town. Fast forward to the Russian occupation, flight to America, life in the Afghan exile community in the Bay Area. Amir becomes a writer and marries a beautiful Afghan; Baba dies of cancer. Then, in 2001, the past comes roaring back. Rahim, Baba’s old business partner who knows all about Amir’s transgressions, calls from Pakistan. Hassan has been executed by the Taliban; his son, Sohrab, must be rescued. Will Amir wipe the slate clean? So he returns to the hell of Taliban-ruled Afghanistan and reclaims Sohrab from a Taliban leader (none other than Assef) after a terrifying showdown. Amir brings the traumatized child back to California and a bittersweet ending.
Rather than settle for a coming-of-age or travails-of-immigrants story, Hosseini has folded them both into this searing spectacle of hard-won personal salvation. All this, and a rich slice of Afghan culture too: irresistible.Pub Date: June 2, 2003
ISBN: 1-57322-245-3
Page Count: 368
Publisher: Riverhead
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2003
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