Darkly charming.
After two starkly different novels (The Hiding Place, 2001 and Remember Me, 2004), Azzopardi moves in yet a third direction: a romance, springing to life on the English coast, between two damaged souls struggling to get beyond tragic losses suffered in their childhoods.
For years, Lewis, now in his mid-30s, has been driving himself mad with survivor’s guilt over the death of his twin brother, Wayne, in a car accident when they were 15. He comes to the Norfolk coast looking for Carl, Wayne’s friend, who was driving the car but has never shown remorse. Lewis rents a room from Rita, a lively septuagenarian whose daughter Anna happens to be visiting to help Rita after a fall. Anna and Lewis immediately recognize and are drawn to each other’s despair, although their anguish differs in degree. Anna, lonely and neurotically withdrawn, suffering from partial hearing loss that dates back to her father’s death when she was seven, disapproves of Rita’s boisterous lifestyle and boyfriend, a retired actor/ventriloquist nicknamed Cabbage, but her scenes with her mother can be touchingly funny. Lewis has drawn closer to real insanity, with a scary tendency to black out and break things. Through coincidences that feel a bit too carefully staged, Lewis learns that Carl might be in nearby Winterton and takes off. Just as Lewis is dragging Carl into the ocean, possibly to drown him, Anna shows up. No one is hurt, but Rita tells Lewis he must go away until he gets his life on track. Meanwhile, Rita and Cabbage marry, much to the dismay of Anna. With help from Carl’s father, Lewis finally accepts the reality of his past and is ready to build a life with Anna, who has been facing down her own fears. Azzopardi keeps the lovers apart for too much of the novel. Their memories and even their interactions tend to be elliptical, but the novel’s odd logic nevertheless draws the reader in.
Darkly charming.Pub Date: March 10, 2007
ISBN: 0-8021-1841-0
Page Count: 288
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2006
BOOK REVIEW
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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