Like a series of evocative miniatures, a second novel by Ganesan (The Journey, 1990) that suggests the idyll of an imperfect matriarchy. Narrated by 15-year-old Sonil in brief episodes and glimpses, the story follows the girl's roundabout but assured awakening to herself on the multicultural, contemporary island of Pi off the Indian subcontinent. Though writing about a nearly Edenic place, Ganesan takes care that the Pi also come across as not altogether unworldly. And so we meet a down-at-the-heels collection of cosmopolitan wanderers and odd locals, earthy yet only inches removed from myth: Sonil's much-married and socially reviled, rebellious mother, who had more or less abandoned her daughter from the start; Sonil's generous and adorable grandmother, who—in a pleasantly shambling way—can do no wrong; her repressed but passionate cousin Jani, who desperately flees her suitors for a convent; and her ethereal great-uncle, a painter whose ``body was merely pretending to be flesh.'' Sonil meets an American who is twice her age; falls in love for the first time; and is left hanging when this love object picks up and leaves. Ultimately, Sonil's grandmother dies, though before that, people float in and land fleetingly, like mirages, on the island, which begins to resemble a microcosmic kaleidoscope of the human, the natural, and the magical folded into one—a small, storied panoply of Ganesan's imagination. But her style is relaxed, even casual. Unlike the righteous, raised tone of epics, polemics, and fictional creeds, hers is kind and humorous: ``I thought about animals and their capacity for change, how species evolved,'' Sonil muses. ``And I began to think of the ability to abstain from love as a particularly human trait. But . . . surely there were earthworms that were monkish in their habits?'' But the character of Sonil's American hippie boyfriend is tritely drawn, and the book's first third is too slowly plotted, like an anticlimactic reverie. Still, Ganesan's ingenious charms as a social and spiritual observer bejewel the novel.
Pub Date: Feb. 1, 1998
ISBN: 0-679-43442-9
Page Count: 208
Publisher: Knopf
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Nov. 15, 1997
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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