An impressive, richly imagined, deeply urgent story.
An Orwellian debut explodes ancient lore and contemporary technology to create a prescient, terrifying dystopia.
In 2052, Britain has become an extreme surveillance state with pre-Victorian levels of brutal poverty. King Henry IX, aka Harry9, controls the news through WikiNous, the Internet transmitted through flesh. Alerts, text messages, and spam scroll across citizens’ corneas, with incoming messages flashing colors like a migraine aura. The ability to opt out of the spam is only available to the wealthiest. Meanwhile, with the impending arrival of the comet Urga-Rampos, Heaven’s Gate, a California-based cult run by Marshall Applewhite III, is trying to kill all of the world’s animals and perform mass suicides, an increasingly appealing prospect for the large Indigent class. Homeless 90-year-old Cuthbert Handley sets out to free the animals of the London Zoo. Suffering from an addiction to Flôt, a legal hallucinogenic with crippling withdrawal symptoms, Cuthbert believes the animals are talking to him and hopes they will help him find his brother Drystan, who drowned in 1968 and who may or may not be the Christ of the Otters. Dr. Bajwa, Cuthbert’s physician, worries Cuthbert’s delusions will get him locked away in a Calm House with a Nexar hood that would “smooth and desplinter brain activity like a kind of mental woodplane.” Conveniently, Dr. Bajwa is an amateur solarcopter pilot. This plot device is the one creak in an otherwise highly immersive narrative. The language of the novel crackles with energy, nimbly drawing on Old English, regional dialects and slang, and speculative future language. The worlds’ religions—paganism, Christianity, Sikhism, Judaism, Islam, Yoruba—fuse together in a luminous supernatural force which buoys forward poor Cuthbert, who, despite the risk of multiple-organ failure, doggedly pursues his mission to keep the voices of the animals alive.
An impressive, richly imagined, deeply urgent story.Pub Date: July 5, 2016
ISBN: 978-0-06-240079-6
Page Count: 560
Publisher: Ecco/HarperCollins
Review Posted Online: April 12, 2016
Kirkus Reviews Issue: May 1, 2016
PROFILES
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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