Populated by likable and believable characters, an affectionate, understated approach to questions of sanity, survival, and...
Natural disaster combines with accident to make a wreckage of a life. Now, in the sympathetic hands of the long-absent Brown (Audubon’s Watch, 2001, etc.), it’s up to the protagonist to pick up the pieces.
Henry Garrett has been on the run, headlong, for days, fleeing New Orleans and the terror of Hurricane Katrina. Now, down in the quiet shadow of the Blue Ridge Mountains of Virginia, he rolls to an uncertain stop smack in the middle of the life of a “short, round Indian woman,” her glittery fingernails disguising a badly broken heart. Latangi takes him in without hesitation, knowing only that he has been driven from a home that may no longer exist—and certainly not knowing that the 41-year-old was “deep down, still just a dopey adolescent kid” when it comes to matters of the heart and deeply troubled when it comes to matters of the mind. Indeed, one of the things that Henry is running from is the possibility of inherited madness (“undone,” in the polite parlance of the South). But what has become of his wife and other loved ones? What is there to run toward? Henry is working on sorting all that out even as he accidentally kills an old prisoner working on a road crew, his arms raised “as if what he meant to do…was fly.” Putting an already unhinged fellow under additional stress is never a recipe for happiness, but Henry struggles to work it out, finding comfort in the sometimes-eccentric but deeply hospitable people of Amherst County. Henry yearns not for having “his mind set right” but for resumption, the ability to pick up his dreams where they left off, make peace with family, and get on with life. Thanks to the resourceful, gentle Latangi, who has troubles of her own, he gets there.
Populated by likable and believable characters, an affectionate, understated approach to questions of sanity, survival, and redemption.Pub Date: June 28, 2016
ISBN: 978-0-316-30280-7
Page Count: 288
Publisher: Lee Boudreaux/Little, Brown
Review Posted Online: March 29, 2016
Kirkus Reviews Issue: April 15, 2016
BOOK REVIEW
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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