A surprisingly incisive rendering of a shattered society—or, just another world gone wrong.
Thirty-eight surrealistic short fictions about gods and monsters and other neighbors cohabitating at the end of the world.
This collection by British multimedia artist and writer Etchells (Vacuum Days, 2012, etc.) may be about, as the author notes on the first page, “Kings, lords, liars, goal-hangers, killers, psychics and prostitutes,” but it’s also a politically charged and graphic portrait of Western societies hanging on by a thread. With an introduction by Britpop legend Jarvis Cocker, who shares Etchells’ roots in Thatcher-era England, this particular work of art demonstrates once more that what goes around comes around. This loosely connected compilation of stories set in the shared universe of “Endland” finds characters both conventional and macabre mingling in a place where adversity is constant and happiness, elusive. The first half resurrects 1990s-era pieces from the long out-of-print Endland Stories (1999). The opener, “About Lisa,” concerns a young woman who works in a topless chip shop and whose life is changed by a murder. “Who Would Dream That Truth Was Lies?” introduces one of the book’s recurring conceits, a pantheon of gods that includes traditional Greek gods but also outliers like Herpes, Chandelier, and Rent Boy, among others, a conceit that continues in “Arse on Earth.” It’s easy to go too far, as in “Chaikin/Twins,” a nature-nurture experiment that finds a man contrasting twin sisters, one pampered and one sexually brutalized. There are nontraditional morality tales about a fallen starlet, a transient pop star, and a woman disintegrating into the ether of cyberspace. Stories in the collection’s back half are less graphic but turn a black mirror to the movies, from crime stories set in Endland to a horror fiction based on found footage to an unexpected take on “scripted reality.” They aren’t easy to digest, these lurid tales of poverty, parricide, ghosts, and untimely deaths, but they do pose some hard questions about the world outside our windows.
A surprisingly incisive rendering of a shattered society—or, just another world gone wrong.Pub Date: May 12, 2020
ISBN: 978-1-911508-70-0
Page Count: 352
Publisher: And Other Stories
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
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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