After the questions and answers with his readers, the Author may or may not have a sexual encounter, one in which he must...
As an exercise in literary gamesmanship, metafiction subverts the typical relationship between author and reader. Though lit-crit scholars may ponder the essence of words on a page and what they might possibly “mean,” readers generally want to lose themselves in a riveting plot driven by characters of depth, coherence and verisimilitude, whose fates reveal something essential about our lives and our world.
Israeli novelist Amos Oz performs an exquisite balancing act in his taut, evocative novel Rhyming Life & Death, which immerses readers in the vagaries of the creative process, never letting us forget that there’s an author pulling the strings, making the decisions—however arbitrary—and making us complicit in the illusion that these words on the page somehow represent lives lived, destinies fulfilled and desires thwarted. “He wrote more or less the way he dreamed or masturbated,” explains the protagonist known only as “the Author,” a creative projection of the author (Oz). “[With] a mixture of compulsion, enthusiasm, despair, disgust and wretchedness.” As Oz takes us inside the writer’s mind, nothing much that happens within this novel exists outside that creative consciousness. The Author has agreed to appear at the “monthly meeting of the Good Book Club at the refurbished Shunia Shor and the Seven Victims of the Quarry Attack Cultural Centre.” Before his appearance, he sits in a coffee shop, anticipating all of the questions that he has heard so many times before and has never been able to answer adequately for himself: “Why do you write?...What role do your books play?” And so on. Yet a waitress who catches his eye and libido means more to him than all of those unanswerable questions. Certainly more than the pronouncements of the literary critic who will accompany him onstage, making grand, Clintonian assertions about “the actual meaning of the term ‘meaning.’ ” Instead, the Author finds himself spinning a narrative in his head about the waitress, a narrative that will eventually encompass other elements. Reality, in these pages at least, exists only in the mind of the Author, who, of course, exists only in the mind of Oz.
After the questions and answers with his readers, the Author may or may not have a sexual encounter, one in which he must try to conjure a narrative that will counter his self-consciousness and allow him to rise to the occasion. In fact, it’s up to the reader to determine whether the plot takes this course or another. As Oz reminds us throughout this spellbinding fable, readers are partners with novelists in this enterprise of fiction, imagining in our heads what exists only as words on a page.Pub Date: April 14, 2009
ISBN: 978-0-15-101367-8
Page Count: 120
Publisher: Houghton Mifflin Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2009
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
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
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