A difficult but ultimately rewarding meditation on the tolls that capitalism and misogyny take on a fledgling nation's soul.
A haunting, incisive, and timely glimpse into how misogyny and class strife shape life in post-colonial Zimbabwe.
Returning to characters she first introduced in her debut novel, Nervous Conditions (1988), Zimbabwean author Dangarembga situates us in the mind of Tambudzai Sigauke, an educated but insecure and selfish young woman who is plummeting rapidly down her nation's class hierarchy. Bitter after leaving her job at an ad agency “over a matter of mere principle,” Tambudzai takes up residence at a hostel while she hatches a scheme to claw her way back up the social ladder. Her scheming eventually takes her to a high school teaching job, where the pressures of teaching unruly students tax her fragile mental health. Driven to rage by her inability to command her students' respect, Tambudzai brutally beats and injures a student named Elizabeth Chinembiri. The event triggers a mental breakdown and sets Tambudzai on a tragic collision course with her estranged family. Narrated in the second person from Tambudzai's perspective, the novel collapses the distance between its readers and its antihero ("You spend most of your time sitting on your bed, brooding over your new misjudgement"). The effect is claustrophobic and alarming, as the reader becomes implicated in Tambudzai's conniving—and sometimes outright immoral—behavior. When she participates in a mob's fevered sexual assault of a female hostel roommate, conspires to lure a married man into infidelity, or steals vegetables from her landlady's garden, it's not just Tambudzai who performs these actions—it's you. Tambudzai's behavior is so persistently self-centered that she can be somewhat flat and unappealing; social advancement is her only motivation, and it can be difficult to sympathize with a character whose moral compass is so degraded. Her flatness is easy to overlook, however, because this novel's true protagonist is the entire nation of Zimbabwe. Tambudzai becomes a stand-in for a society struggling to gain its footing and maintain its soul amid the trauma of civil war and economic and political instability. In terse, stark prose that paints a brutally realist portrait of post-colonial Zimbabwe, Dangarembga turns an appraising eye upon her nation in order to investigate the various inequalities that lie at its heart. This novel's Zimbabwe is a nation populated by cruel mobs, exploitative entrepreneurs, and mercenaries who care only about themselves. Her incisive realism is most effective when dealing with misogyny, especially the vicious violence inflicted on women's bodies. The mournable body of the novel's title turns out to be the collective body of Zimbabwean women.
A difficult but ultimately rewarding meditation on the tolls that capitalism and misogyny take on a fledgling nation's soul.Pub Date: Aug. 7, 2018
ISBN: 978-1-55597-812-9
Page Count: 296
Publisher: Graywolf
Review Posted Online: May 28, 2018
Kirkus Reviews Issue: June 15, 2018
BOOK REVIEW
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
Too much drama at the end detracts from a finely wrought and subtle conundrum.
Ware (In A Dark, Dark Wood, 2015) offers up a classic “paranoid woman” story with a modern twist in this tense, claustrophobic mystery.
Days before departing on a luxury cruise for work, travel journalist Lo Blacklock is the victim of a break-in. Though unharmed, she ends up locked in her own room for several hours before escaping; as a result, she is unable to sleep. By the time she comes onboard the Aurora, Lo is suffering from severe sleep deprivation and possibly even PTSD, so when she hears a big splash from the cabin next door in the middle of the night, “the kind of splash made by a body hitting water,” she can’t prove to security that anything violent has actually occurred. To make matters stranger, there's no record of any passenger traveling in the cabin next to Lo’s, even though Lo herself saw a woman there and even borrowed makeup from her before the first night’s dinner party. Reeling from her own trauma, and faced with proof that she may have been hallucinating, Lo continues to investigate, aided by her ex-boyfriend Ben (who's also writing about the cruise), fighting desperately to find any shred of evidence that she may be right. The cast of characters, their conversations, and the luxurious but confining setting all echo classic Agatha Christie; in fact, the structure of the mystery itself is an old one: a woman insists murder has occurred, everyone else says she’s crazy. But Lo is no wallflower; she is a strong and determined modern heroine who refuses to doubt the evidence of her own instincts. Despite this successful formula, and a whole lot of slowly unraveling tension, the end is somehow unsatisfying. And the newspaper and social media inserts add little depth.
Too much drama at the end detracts from a finely wrought and subtle conundrum.Pub Date: July 19, 2016
ISBN: 978-1-5011-3293-3
Page Count: 352
Publisher: Scout Press/Simon & Schuster
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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