One senses that Oates is working through deeply personal material here. I’ll Take You There may in fact hold important clues...
Oates’s 30th full-length novel is one of her most bizarre and unsettling: a monotonous, only intermittently dramatic exploration of a “brilliant” young woman’s quest for certainty and human connection, undertaken at a fictional university during the just-beginning-to-be-turbulent early ’60s.
We never learn her real name. But we are given detailed glimpses into the self-punishing psyche of an upstate New York scholarship student from a fairly dysfunctional German-American farm family. In the story’s brooding opening section, pointedly titled “The Penitent,” the girl’s longings for the mother she never knew and the sister she never had impel her to seek, then throw away, membership in a prestigious sorority. Little happens in these early chapters, which are portentously adorned with quotations expressing such arcana as Spinoza’s theories about the links between knowledge and moral action. There’s even less narrative in “The Negro-Lover,” a laborious account of “Anellia’s” (for this is the fictional name she gives herself) obsessive relationship with black philosophy student Vernor Mathieus, another of those soulless intellectuals who keep popping up in Oates’s novels in order to confuse the women who unaccountably adore them. The final section, “The Way Out,” contains more promising material: Anellia’s discovery that her vagrant father, long presumed dead, is in fact clinging to life, though dying of cancer, in Utah. She dutifully arrives there, to be informed by the “hunchbacked little doll-woman” who cares for him that she may speak to her father but is not permitted to look at him. Alas, Oates never develops this situation, and the novel trails off into an inconclusiveness that is momentarily vitiated by a surprising final sentence that suggests the otherwise unspecified character of the unnamed protagonist’s “narrative.”
One senses that Oates is working through deeply personal material here. I’ll Take You There may in fact hold important clues to the autobiographical impulses that appear partially to generate and shape her fiction—but it isn’t much of a novel.Pub Date: Oct. 4, 2002
ISBN: 0-06-050117-0
Page Count: 304
Publisher: Ecco/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2002
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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