Walls turns what could have been another sentimental girl-on-the-run-finds-home cliché into a fresh consideration of both...
Memoirist Walls, who has written about her own nomadic upbringing (The Glass Castle, 2006) and her remarkable grandmother (the novelized biography Half Broke Horses, 2009), turns to out-and-out fiction in this story about two young sisters who leave behind their life on the road for the small Virginia town their mother escaped years before.
By 1970, 12-year-old Bean and 15-year-old Liz are used to moving from town to town with their would-be actress/singer mother, Charlotte. When Charlotte takes off to find herself in San Diego, the Holladay sisters know how to fend for themselves, living on potpies and getting themselves to school for several weeks. But then the authorities start sniffing around. Scared they’ll be carted off to foster care, Liz decides they should head cross-country to Byler, Va., the hometown Charlotte left for good when Bean was still a baby. Clearly, Walls borrows from her own experience in describing the girls’ peripatetic life, but she doesn’t waste undue time on the road trip before getting the girls to Byler, where the real drama begins. The Holladays used to own the town’s cotton mill, but all that’s left is the decaying mansion where Charlotte’s widowed brother still lives. Less cutesy eccentric than he first seems, Tinsley gives the girls the security they have missed. Tinsley also reflects Byler itself, a conservative Southern town struggling to adjust to shifting realities of racial integration and the Vietnam War. Bean joins the newly integrated school’s pep squad and thrives by assimilating; creative, sensitive Liz chafes under pressure to conform. Then, Charlotte shows up wanting to take the girls to New York City. Walls throws in an unnecessary melodrama concerning an evil bully of a man who threatens Liz with violence and worse, but the novel’s strength lies in capturing the complexity of Bean’s and Liz’s shifting loyalties.
Walls turns what could have been another sentimental girl-on-the-run-finds-home cliché into a fresh consideration of both adolescence and the South on the cusp of major social change.Pub Date: June 11, 2013
ISBN: 978-1-4516-6150-7
Page Count: 288
Publisher: Scribner
Review Posted Online: March 10, 2013
Kirkus Reviews Issue: April 1, 2013
PROFILES
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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