by Wiley Cash ‧ RELEASE DATE: Oct. 3, 2017
A heartbreaking and beautifully written look at the real people involved in the labor movement.
Inspired by the events of an actual textile-mill strike in 1929, Cash (This Dark Road to Mercy, 2014, etc.) creates a vivid picture of one woman’s desperation.
Ella May Wiggins works long, grueling hours in a mill, but it still isn’t enough to keep her children fed. The year is 1929, and fed-up workers are fighting for rights like a standard wage, a five-day work week, and equal pay for equal work. Ella’s curiosity about the union leads her to attend a rally in a neighboring town, but when she gets up on stage to sing a song that she wrote, she becomes an unexpected star of the labor movement. Her prominence makes her a target for those who view union members as communists, and Ella’s belief that African-Americans should be included in the union places her in even more danger. But Ella’s voice isn’t the only one Cash explores—there are multiple points of view, including Ella’s now-elderly daughter Lilly, an African-American porter named Hampton, and several others whose lives intersect with Ella’s. Cash vividly illustrates the difficulties of Ella’s life; her exhaustion and desperation leap off the page. She faces extreme hardship in her fight for workers’ rights, but it’s always clear that she keeps going because of her love for her children. Although it is initially a bit difficult to keep so many points of view straight, it is satisfying to see them all connect. It’s refreshing that Cash highlights the struggles of often forgotten heroes and shows how crucial women and African-Americans were in the fight for workers’ rights.
A heartbreaking and beautifully written look at the real people involved in the labor movement.Pub Date: Oct. 3, 2017
ISBN: 978-0-06-231311-9
Page Count: 304
Publisher: Morrow/HarperCollins
Review Posted Online: Aug. 2, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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by Margaret Atwood ‧ RELEASE DATE: Feb. 17, 1985
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
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edited by Margaret Atwood & Douglas Preston
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BOOK TO SCREEN
by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
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