An enchanting slice of pungent prose: indulgent, luxuriant and effectively titillating.
Lush, erotic, graphically depicted interpersonal relations between an obsessive, passionate couple.
Though the man and woman depicted in Stevenson’s provocative allegory remain unnamed throughout the story, the reader becomes intimately familiar with them by way of delicately woven, finely wrought passages. Desirous and flooded with endless longing, the woman, mysterious and serpentine in her movements, draws a cheerless, angry male to her with ease. Her warmth and passion releases him from a lifetime “spent in exile.” As teenagers, they made love in horse stables–now they walk on beaches, nap under trees during autumn afternoons or enjoy each other in a pier-house overlooking the Atlantic Ocean, him caressing her as if she were “stones set in a warm wall touched lovingly by water and time.” The many segments detailing their coupling flow with poetic language that is sexually explicit yet bolstered by a fiery, brazen love that courses through both characters, but that only one of them openly acknowledges. Stevenson leaves little to the imagination when describing genitalia, or the push and pull of coital interplay, or the male’s “gymnastic energy” for a woman who uses his convulsive surges of emotion to render him helplessly mad, incapable of recognizing the outside world flourishing around him. In the concluding paragraphs, Stevenson changes the tone of the book from sexy to poignant, suggesting that much of the text could be the work of the man’s vivid imagination. In plumbing the depths of his unnamed characters’ deepest desires, Stevenson has created a love story that leaves the emotional details up to the reader. With a barely discernable storyline, the book forms a diminutive work of art in poem form: Stimulating free verse comprised of fertile words and metaphors on the thickness and possessiveness of love.
An enchanting slice of pungent prose: indulgent, luxuriant and effectively titillating.Pub Date: June 10, 2005
ISBN: 978-1-419-608308
Page Count: -
Publisher: N/A
Review Posted Online: May 23, 2010
Review Program: Kirkus Indie
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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