Akhtiorskaya’s sideways humor allows rays of genuine emotion to filter through the social and domestic satire.
Given current events, Akhtiorskaya’s debut—concerning an immigrant family’s ambivalent ties to America and those who choose to stay behind in Ukraine—could not be more timely.
As the novel opens in 1993, Esther and Robert Nasmertov, once highly respected doctors in Odessa, have been settled for two years in the Russian/Ukrainian Jewish enclave of Brighton Beach, Brooklyn, where their medical practices have dwindled and they struggle with their own health problems. Living with them are their chunky, sullen 10-year-old granddaughter, Frida, her mother, Marina (the Nasmertovs' daughter), who cleans houses for wealthier Jews and eventually becomes a nurse, and her low-level computer-tech husband, Levik. Absent is Esther and Robert’s son, Pasha, an up-and-coming poet. A convert to Eastern Orthodoxy, he remains in Odessa with his wife and adolescent son. When Esther is diagnosed with cancer, Marina arranges for Pasha to visit. Akhtiorskaya’s set-piece descriptions of his monthlong stay—a family beach outing; a birthday weekend in a cramped lake cabin; a literary soiree—are drawn with sharp humor, telling character sketches and sensory flamboyance. Esther, Robert and Marina want Pasha, whom they all consider helpless and hapless, to stay in America where they can take care of him. Pasha is put off by what he sees as Brighton Beach’s second-rate version of Odessa, but he enjoys Manhattan's expat literary social life. Cut to 2008. Word comes to Brooklyn that Pasha’s son is engaged. Frida, thinner but still sullenly unhappy, decides to attend the wedding and receives a less-than-enthusiastic welcome to Odessa. Divorced and remarried to a woman he met in New York, Pasha has become a literary lion based on the work he published (and Frida never bothered to read) shortly after his visit to America 15 years ago. As Akhtiorskaya showed America through Pasha’s eyes, she now offers Frida’s vision of Crimea as chaotic, decrepit, yet enticingly surreal.
Akhtiorskaya’s sideways humor allows rays of genuine emotion to filter through the social and domestic satire.Pub Date: July 31, 2014
ISBN: 978-1-59463-214-3
Page Count: 320
Publisher: Riverhead
Review Posted Online: June 4, 2014
Kirkus Reviews Issue: June 15, 2014
PROFILES
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
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
