Flawed or not, a terrific introduction to a world-class literary talent.
This first (1995) novel by the South African playwright and author of The Heart of Redness (above) creates a vivid, bustling image of contemporary Africa in transition from the unusual symbiotic relationship between a bereaved former prostitute and a stoical “professional mourner.”
In a time when government officials and revolutionary “liberators” alike are orchestrating wholesale slaughter of innocent villagers, middle-aged Toloki supports himself as an itinerant paid mourner who grieves publicly at strangers’ funerals. During one unusual Christmas Day burial service, he encounters Noria, once a notoriously wild young girl in their common home village, whose young son has been murdered. They form a strange, sexless union: a premise that, though it provides relatively little in the way of drama, initiates a rhythmic alternation of present-day experiences (rife with political violence and peril) with extended flashbacks to their (briefly) shared and (mostly) separate pasts. We learn a great deal about Toloki’s conflicted relationship with his harsh father Jwara (a blacksmith and would-be artisan) and the manner in which Toloki has sublimated his own artistic gifts, and also about Noria’s difficulties with her aloof majestic mother (“That Mountain Woman”) and the vagrant sexual life to which she was eventually driven. A communal voice (“we live our lives as one”) tells their stories, also layering in colorful related tales involving such striking characters as the wily pragmatic taxicab driver Shadrack, a vainglorious archbishop (whose “war” with the young Toloki is one of several such conflicts that echo the country’s larger one), Nefolovhowe the coffin-maker, and a compassionate “twilight mum” (Madimvhaza) who cares for abandoned children. Their several stories cohere to underscore the insight that has shaped Toloki’s life: “Death lives with us every day. Indeed our ways of dying are our ways of living.” The story falters in its final third, and it’s a mess structurally almost from start to finish. But that’s largely irrelevant, in a charming narrative that has the incremental repetitive quality of a folk ballad spun out through successive generations.
Flawed or not, a terrific introduction to a world-class literary talent.Pub Date: Aug. 1, 2002
ISBN: 0-312-42091-9
Page Count: 216
Publisher: Picador
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2002
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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