Vivid prose isn’t enough to lift this book from its own excruciating depths.
An avid young Hitler supporter discovers that his parents have been hiding a Jewish girl in their house.
Johannes Betzler is a child in Vienna when Hitler comes to power and Austria votes for annexation. In school, he learns that “our race, the purest, didn’t have enough land” but that “the Führer had trust in us, the children; we were his future.” Johannes joins the Jungvolk and, once he’s old enough, the Hitler Youth. At home, meanwhile, his parents grow more and more discomfited; they’re quietly opposed to the Nazi party but well aware of the danger they’d be in if they voiced their opposition—even to their own son. Then, as a teenager, Johannes is maimed by a bomb, losing a hand and part of his cheekbone. Wounded, he returns home, where for months he is bedridden, alone in the house with his mother and grandmother. Increasingly, his father is—mysteriously—gone. His mother seems to be acting oddly and, finally, Johannes discovers the reason why: There is a girl, a Jewish girl, hidden upstairs in a secret partition. This is where Leunens’ (Primordial Soup, 2002) novel takes off. Johannes becomes increasingly fixated upon Elsa. At first, her existence prompts him to question his devotion to Hitler—is he betraying the Führer by not reporting his parents?—but as time goes on, and as Johannes’ preoccupation with Elsa grows more sexual, these doubts fade. Leunens is a strong writer, her prose supple and darkly engaging. Her depiction of wartime Vienna is nearly cinematic and utterly convincing. But it isn’t clear if Johannes is meant to be a sympathetic character, and as the novel goes on, and his choices grow more and more disturbing, it becomes harder to sympathize with him. Nor does he change, exactly, over the course of the book, although his circumstances certainly do. Ultimately, it’s unclear what Leunens’ larger purpose is. This is a dark, disturbing novel—but to what end?
Vivid prose isn’t enough to lift this book from its own excruciating depths.Pub Date: Aug. 6, 2019
ISBN: 978-1-4197-3908-8
Page Count: 304
Publisher: Overlook
Review Posted Online: May 12, 2019
Kirkus Reviews Issue: June 1, 2019
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BOOK TO SCREEN
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BOOK TO SCREEN
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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