Delight in this tale for its hilarious and endearing family drama, but don’t expect to get the same level of romantics and...
Sittenfeld takes on the challenge of modernizing Pride and Prejudice as part of the Austen Project in her fifth novel (Sisterland, 2013, etc.).
Gone are the rolling hills of the English countryside. In Sittenfeld's latest, Longbourn has been transformed into an oversized and neglected Tudor in the upscale Hyde Park neighborhood of Cincinnati. The Bennet sisters range in age from 23 to pushing 40, all unwed but certainly not inexperienced. Kitty and Lydia are politically incorrect CrossFit fanatics; Mary cares little about the crumbling state of her family’s affairs as she collects online degrees; Jane is an ethereal beauty of a yoga instructor who wants very badly to become a mother; and Liz, well, Liz is a New York–based magazine writer who fixes everyone else’s problems as the Bennets find themselves together again after a health scare (and Mr. Bennet casually reveals he has no health insurance, oh, and two mortgages…). The modernization of this classic story allows for a greater and more humorous range of incompetency and quirks; for example, Mrs. Bennet now has Valium and online shopping to distract her from constant anxiety. These familiar characters must deal with issues far beyond class and the all-important institution of marriage; everything from sexuality to racism to eating disorders and single parenthood factor in. And it’s all written in a giddily charming blend of 19th-century novel–meets–21st-century casual swearing: Liz finds her enemy, Caroline Bingley, “looking bitchily gorgeous in an expensive frock.” Oh, it’s about time we get to the Bingleys and our man of the hour, pensive neurosurgeon Fitzwilliam Darcy. As the Bennets deal with financial ruin, Cincinnati welcomes a new doctor, Chip Bingley (and friends), to town; he's recently starred on the Bachelor-like reality show Eligible…which (surprise) did not end in love. In the end, it takes an exceedingly long time, with Liz busy being the “voice of reason amid a cacophony of foolishness,” for Darcy to feel significant to the story.
Delight in this tale for its hilarious and endearing family drama, but don’t expect to get the same level of romantics and Darcy-inflicted swoon that make the original untouchable.Pub Date: April 19, 2016
ISBN: 978-1-4000-6832-6
Page Count: 512
Publisher: Random House
Review Posted Online: March 16, 2016
Kirkus Reviews Issue: April 1, 2016
PERSPECTIVES
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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