Barnes (Flaubert's Parrot) has used portraiture-at-three-ages before, in 1980's Metroland. Where that book had an aggressively sociocultural finish, though, this new one hooks a rug of metaphor more philosophical and religious. Jean Serjeant's childhood in the 1920's is bedeviled and enlightened by her golf-course outings with her Uncle Leslie, during which his charming eccentricity poses to her certain questions and conundrums (Is there a Sandwich museum? Why don't Jews like golf? Why is heaven up the chimney? Why is the mink excessively tenacious of life?)—mysteries that provide her with a kind of bravery and fear mixed together. Also they seemed to have had the capacity to render her all but unfit for normal life. Marriage, a son, divorce, travel—she goes on to have and do all these things but never feels herself quite connected to them. Her son, Gregory, inherits the deracination; and, then, as a bachelor of 60 (Jean still doughtily hanging on at 100 in the year 2002), he decides to ask his own versions of Uncle Leslie's questions lo a great central computer that will—to a select few—reveal ultimate truths, i.e., Does God exist? Why is there death? As Flaubert's Parrot proved. Barnes is special at subtle recapitulation; he can under- and over-knot a mere detail until it comes to seem like a living seed; and he has a fine, off-center sense of humor that falls toward the commonsensical and sends up the needlessly fancy. This is all here again—but more pokily; Jean's teenaged acquaintance with a scared fighter pilot, for instance, etches the fine line between bravery and cowardice—but too portentously. Her impressions of travels lo China and the Grand Canyon are intelligently odd—but, in a novel, sit there like travel notes all the same. Probably a better way to read this book is as an elegantly well-done successor (and homage) to Cyril Connolly's black diamond, The Unquiet Grave: an excursus, a self-mocking meditation. Certainly the final section—Gregory's search for and the finding of faith—is very moving, a hundred juggled balls in the air, all somehow—wizardly, humanely—caught. Not truly a novel, then—nor satisfying as one—but added proof of Barnes' deft skill for artistic and intellectual cubism.
Pub Date: April 2, 1987
ISBN: 0679748202
Page Count: 215
Publisher: Knopf
Review Posted Online: Oct. 19, 2011
Kirkus Reviews Issue: March 15, 1987
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
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
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