An often-charming exploration of learning, love and loss.
A young Chinese woman travels to London on a student visa and falls in love with a much older English bachelor.
New in town and eager to learn English so she can better help her family run their shoe factory back in rural China, lonely 23-year-old Zhuang (“Z”) meets her unnamed 40-something lover at an artsy German film. The attraction between them is immediate, but it is her literal interpretation of his “be my guest” invitation that has her moving into his Hackney flat within a week. A sculptor specializing in pained-looking human forms, he is also a vegetarian who, prior to Z, led a mostly gay life. His bisexuality seems to bother her less than the fact that he won’t eat pork, but he is initially delighted by her youth, naiveté and absolute dependence on him. There is much that Z does not understand about western culture, and her ever-improving ESL narration of London living is both fascinating and amusing, such as when she reads a Pet House magazine to improve her language skills. As the lovers settle into a domestic routine, their relationship deepens and she realizes that speaking his mother tongue won’t necessarily help her understand her broody Englishman. The existential angst that seems “noble” to her comes across as self-indulgent to the reader. For his part, he grows tired of Z’s neediness and encourages her to backpack around Europe, where she meets a series of men, but never stops thinking of him. Back in their shared flat, in between bouts of lovemaking, Z struggles to balance her practical life plans with her romantic ideals, and by the bittersweet conclusion it is clear that she has grown in ways that neither she nor her lover could have ever imagined. Guo’s U.S. debut quickly overcomes the early chapters’ self-conscious winsomeness to become a compelling and moving tale of first love.
An often-charming exploration of learning, love and loss.Pub Date: Sept. 4, 2007
ISBN: 978-0-385-52029-4
Page Count: 304
Publisher: Nan A. Talese
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2007
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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