An admirable effort, though all parts don’t quite fit together.
A young woman fights against the injustice of slavery and searches for true love during the Civil War.
After disguising herself as a man and fighting alongside the Union army in the first volume of Mach’s trilogy (Sissy!, 2004)–about a host of characters navigating their way through the turmoil of the war–heroine Jessica Radford turns to the power of her pen to help emancipate slaves. While she strives to complete a novel about the difficulties faced by a freed slave whose persona is remarkably similar to her own, Jessica struggles to choose between two suitors: preacher Matt Lightfoot, a slavery advocate despite his fighting for the Union, and Otto Heller, an older widower who has dedicated his life to ending slavery. Jessica’s passionate writing is as much a rebellion against the constraints placed on women in a patriarchal society as it is against slavery, but, as the title suggests, she’s only one piece of the puzzle. The story is told from the shifting perspectives of a host of different characters, including former slave Tinker, southern belle-turned-prostitute Sara Toby and free black Canadian musician Devin Alcott, with cameos by historical figures such as Abraham Lincoln and Walt Whitman. Mach’s attention to historical detail is impressive, and young-adult readers will undoubtedly appreciate the mixture of vivid battlefield descriptions and unique characters, each with their own compelling backstory. A few anachronisms detract from the authenticity, and there are moments when the dialogue and dialect don’t ring true, such as when historical facts are awkwardly inserted mid-conversation. The constantly changing perspectives, while a well-chosen vehicle for the large ensemble cast, often switch at a dizzying pace, creating a perplexing mix of insightful moments and abrupt shifts that disrupt the narrative flow.
An admirable effort, though all parts don’t quite fit together.Pub Date: Feb. 8, 2006
ISBN: 0-9745159-4-9
Page Count: -
Publisher: N/A
Review Posted Online: May 23, 2010
Review Program: Kirkus Indie
BOOK REVIEW
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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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