Razor-sharp and raw: a standout thriller from across the Atlantic.
Psychologically probing examination of a tragic friendship between two troubled and highly competitive musicians.
Lee and James met more than ten years ago in London at the Cabresi Academy of Music. Lee was a phenomenally gifted young cellist from a poor family who had been given a scholarship and lodged with the headmaster. James was a rich wastrel who played the violin passably at best but was admitted on the strength of his father’s large donation to the school. Lee’s psychiatrist Peter narrates the story in flashback, so it’s not giving anything away to say that Lee ends up dead from a suspicious drug overdose and James stands trial for his murder. How did things ever come to such a pass? Jealousy is the quickest explanation, but it’s a sword that cuts both ways. Yes, James was jealous of Lee’s talent, but outsider Lee was jealous of James’s money and social status. They soon began to feed off each other in a truly perverse pas de deux, with James supplying money, drugs, and girls to Lee in order to secure his status as the best friend of a genius. After Lee was injured in a jealous brawl with one of his girlfriends that left him unable to play the cello, however, James stood by him when everyone else turned away, finding him work and a place to live. That may well have been the fatal misstep, since James’s girlfriend Gina also inhabited the apartment. Soon she was carrying on an affair with Lee as well, and it was only a matter of time before the situation blew up. Readers are warned not to connect the dots too hastily: second-novelist Jones (Twelve, 2001, not reviewed) has some last-minute twists kneaded into the plot.
Razor-sharp and raw: a standout thriller from across the Atlantic.Pub Date: Jan. 15, 2004
ISBN: 0-00-655239-0
Page Count: 192
Publisher: Flamingo/Trafalgar
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2003
BOOK REVIEW
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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