Unless Gao’s internationally acclaimed plays are a lot better than his fiction, it’s hard to understand why this writer was...
The experiences of a dissident artist-intellectual who finds himself in an adversary relationship with Mao’s Cultural Revolution are once again examined—if not consistently dramatized—by the Chinese Nobel laureate (Soul Mountain, 2000).
Like that later autobiographical novel, this one (originally published in 1997) is a collage whose unnamed narrator describes at sometimes numbing length his provincial childhood and youth, confusion of familial and political allegiances, career as a successful (if increasingly suspect) writer and artist, and relationships with many, many women, whom he seems to captivate, seduce, and satisfy without half trying. The narrative begins wonderfully, with luminously detailed reminiscences of his tenth birthday party: an idyllic, centered watershed moment in a life soon thereafter to be characterized by fractured relationships and ceaseless wandering. The declared intention, “to describe in simple language the terrible contamination of a life by politics,” is both realized and occluded by its odd organization—as a story told by him to Margarethe, the German woman who becomes his lover during a period of self-exile in Hong Kong, which employs second-person direct address to himself while he is thus (and elsewhere) exiled, and omniscient narration to describe his past in China. The story is valuable for its vivid piecemeal picture of 20th-century China’s culture of revisionist egoism, paranoia, and repression, especially in segments that focus on the imperiled activities of a “rebel Red Guard group” of which the narrator is a leader. And there is admirable dramatic intensity in the stories of Qian, a fugitive woman met by chance who impulsively (and unwisely) marries the narrator, and Sun Huirong, a naïve village girl who is raped, disbelieved, and summarily condemned to “re-education.” Otherwise, alas, One Man’s Bible is repetitive, discursive, and declamatory to a degree that leaches away far too much of the drama inherent in its content.
Unless Gao’s internationally acclaimed plays are a lot better than his fiction, it’s hard to understand why this writer was awarded a Nobel Prize.Pub Date: Sept. 6, 2002
ISBN: 0-06-621132-8
Page Count: 464
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2002
BOOK REVIEW
BOOK REVIEW
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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