It’s a great narrative, whose savage grandeur holds an undiminished power to enthrall. But is Carson’s unconventional...
The versatile poet and scholar breaks new ground by retelling an old story—the classical tragedy of the House of Atreus, as dramatized by the three greatest tragedians of Athens’s Golden Age.
Acting on a suggestion from a theater director friend, Carson (Grief Lessons, 2006, etc.) offers a sequential version of the often-told tale of murder, betrayal and revenge performed in the aftermath of the Trojan War, in free-verse translations of plays focused on King Agamemnon, his daughter Elektra and her brother Orestes, as told by Aiskhylos, Sophocles and Euripides, respectively. Each is prefaced by Carson’s brief “Introduction.” For example, she points out Aiskhylos’s emphasis on the role of captured Trojan princess Kassandra, who envisions the ruin ensuing from the war and from Agamemnon’s sacrifice of his daughter, which set his queen Klytaimestra onto her murderous path. Though the pace and dramatic momentum of each play never flags, readers may balk at Carson’s employment of conversational, colloquial and often jarringly anachronistic speech. Arresting coinages like “dreamvisible” and (as an adjective) “rawblood,” and superb use of animal imagery (e.g., Kassandra’s characterization of Agamemnon’s murderess as “a soft lion [that] tumbles in the master’s bed/awaiting him”), jostle with reductive language that labels the temptress Helen “that weapon of mass destruction” or permits a terrified slave to warn of “real bad shit happening.” Nevertheless, the lethal velocity of “Agamemnon,” the arc of guilt and doom that courses throughout “Elektra,” even the Euripidean melodrama of the ferocious closure enacted in “Orestes”—all grate on the reader’s nerves with unflinching intensity.
It’s a great narrative, whose savage grandeur holds an undiminished power to enthrall. But is Carson’s unconventional conflation of its components indeed “an Oresteia” for our time? That’s another story.Pub Date: March 24, 2009
ISBN: 978-0-86547-902-9
Page Count: 272
Publisher: Faber & Faber/Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2009
Heartfelt, yes, but pretty routine.
Life lessons.
Angie Malone, the youngest of a big, warm Italian-American family, returns to her Pacific Northwest hometown to wrestle with various midlife disappointments: her divorce, Papa’s death, a downturn in business at the family restaurant, and, above all, her childlessness. After several miscarriages, she, a successful ad exec, and husband Conlan, a reporter, befriended a pregnant young girl and planned to adopt her baby—and then the birth mother changed her mind. Angie and Conlan drifted apart and soon found they just didn’t love each other anymore. Metaphorically speaking, “her need for a child had been a high tide, an overwhelming force that drowned them. A year ago, she could have kicked to the surface but not now.” Sadder but wiser, Angie goes to work in the struggling family restaurant, bickering with Mama over updating the menu and replacing the ancient waitress. Soon, Angie befriends another young girl, Lauren Ribido, who’s eager to learn and desperately needs a job. Lauren’s family lives on the wrong side of the tracks, and her mother is a promiscuous alcoholic, but Angie knows nothing of this sad story and welcomes Lauren into the DeSaria family circle. The girl listens in, wide-eyed, as the sisters argue and make wisecracks and—gee-whiz—are actually nice to each other. Nothing at all like her relationship with her sluttish mother, who throws Lauren out when boyfriend David, en route to Stanford, gets her pregnant. Will Lauren, who’s just been accepted to USC, let Angie adopt her baby? Well, a bit of a twist at the end keeps things from becoming too predictable.
Heartfelt, yes, but pretty routine.Pub Date: July 1, 2004
ISBN: 0-345-46750-7
Page Count: 400
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2004
An unusual and mesmerizing novel, gracefully written and deeply disturbing.
In her first novel to be published in English, South Korean writer Han divides a story about strange obsessions and metamorphosis into three parts, each with a distinct voice.
Yeong-hye and her husband drift through calm, unexceptional lives devoid of passion or anything that might disrupt their domestic routine until the day that Yeong-hye takes every piece of meat from the refrigerator, throws it away, and announces that she's become a vegetarian. Her decision is sudden and rigid, inexplicable to her family and a society where unconventional choices elicit distaste and concern that borders on fear. Yeong-hye tries to explain that she had a dream, a horrifying nightmare of bloody, intimate violence, and that's why she won't eat meat, but her husband and family remain perplexed and disturbed. As Yeong-hye sinks further into both nightmares and the conviction that she must transform herself into a different kind of being, her condition alters the lives of three members of her family—her husband, brother-in-law, and sister—forcing them to confront unsettling desires and the alarming possibility that even with the closest familiarity, people remain strangers. Each of these relatives claims a section of the novel, and each section is strikingly written, equally absorbing whether lush or emotionally bleak. The book insists on a reader’s attention, with an almost hypnotically serene atmosphere interrupted by surreal images and frighteningly recognizable moments of ordinary despair. Han writes convincingly of the disruptive power of longing and the choice to either embrace or deny it, using details that are nearly fantastical in their strangeness to cut to the heart of the very human experience of discovering that one is no longer content with life as it is.
An unusual and mesmerizing novel, gracefully written and deeply disturbing.Pub Date: Feb. 2, 2016
ISBN: 978-0-553-44818-4
Page Count: 192
Publisher: Hogarth
Review Posted Online: Oct. 19, 2015
Kirkus Reviews Issue: Nov. 1, 2015
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