A provocative, delightful, diverting must-reread.
A man travels to Australia’s interior plains planning to make a film about the region’s people and culture, but mostly he ruminates in this wry, evocative novel.
This reissue of a work first published in 1982 comes with an introduction by Ben Lerner that includes a nice analysis of Australian writer Murnane’s (Something for the Pain: A Memoir of the Turf, 2016, etc.) often exquisite sentences. There is little in the way of character, action, or plot in this thinking man’s fable. The unnamed narrator comes to an unnamed town on the plains, where he explains himself to plainsmen by telling “a story almost devoid of events or achievements.” He feels the plains are “a place that only I could interpret.” He hangs around in his hotel, where, one day, seven landowners arrive and hold audiences for various petitioners seeking their patronage. When the narrator sees them, the landowners converse in non sequiturs and then one of them offers the narrator a position in his mansion as “Director of Film Projects.” He spends 20 years studying in the library, making notes, mooning over the man's wife and a daughter, and giving occasional progress reports on his film, The Interior. He is praised for his “apparent reluctance to work with camera or projector.” Along the way, he examines such plains phenomena as a decadeslong dispute over whether the true view of the plains is that of the hazy, distant horizon or the rich detail in a patch of ground. Murnane touches on foibles and philosophy, plays with the makings of a fable or allegory, and all the while toys with tone, moving easily from earnest to deadpan to lightly ironic, a meld of Buster Keaton, the Kafka of the short stories, and Swift in “A Modest Proposal.” Lerner calls Murnane’s sentences “little dialectics of boredom and beauty, flatness and depth.” The narrator calls the plains “a convenient source of metaphors for those who know that men invent their own meanings.”
A provocative, delightful, diverting must-reread.Pub Date: April 11, 2017
ISBN: 978-1-925355-90-1
Page Count: 200
Publisher: Text
Review Posted Online: Feb. 20, 2017
Kirkus Reviews Issue: March 1, 2017
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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