Flawed but relatable characters and off-the-charts emotional intensity with a sharply evoked Israeli cultural perspective.
The dark experiences of an Israeli immigrant family in “one of the greenest, quietest, safest cities in America.”
Israeli-born Lilach and Mikhael Shuster “raised an American child who went to high school with American children, and now they say he killed another American child,” we learn in the first pages of Gundar-Goshen’s third novel. Like many of the husbands in their neighborhood, Mikhael works in tech, but “while other companies in Silicon Valley developed apps for internet shopping, the company Mikhael worked for developed security products, which was a nice way of saying ‘weapons.’ ” As for the women, Lilach wryly notes, “there were sleep consultants and breastfeeding consultants and toilet-training consultants. There were also couples therapists and art therapists. But the people who provided real care were the Hispanic women who came to our houses every day by public transportation. They took care of the art therapists’ children while the art therapists were taking care of the couples therapists’ children.” Lilach’s alienation and anxiety escalate when there is a violent attack on a local synagogue, then skyrocket when a Black teenager dies at a party and her son, Adam, becomes the prime suspect. Like the other Jewish mothers in the community, she has signed Adam up to take self-defense classes with an Israeli named Uri Ziv, rumored to be ex-Mossad. Adam worships Uri, who also becomes very close with Mikhael and gets a job at his company; as the family is targeted, Uri becomes their protector. But should they trust him? Gundar-Goshen navigates the landscape of racial prejudice, particularly the tension between Jews and the Nation of Islam, through the eyes of an Israeli immigrant who is already scarred by experiences of terrorism in Israel. Sexual identity and bullying also play roles in the plot, which moves uneasily to a conclusion that leaves some questions unanswered. Gundar-Goshen solidifies her brand with this ambitious novel, her first set in the United States.
Flawed but relatable characters and off-the-charts emotional intensity with a sharply evoked Israeli cultural perspective.Pub Date: Aug. 15, 2023
ISBN: 9780316423472
Page Count: 288
Publisher: Little, Brown
Review Posted Online: May 24, 2023
Kirkus Reviews Issue: June 15, 2023
BOOK REVIEW
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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
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