Aasmaani herself is this strong novel’s greatest strength. She’s a remarkable narrator, in a thoroughly captivating tale.
In a Karachi-set fourth novel, Shamsie (Kartography, 2003, etc.) explores universal themes.
At age 30, Aasmaani Inqalab finds herself taking a job at a Pakistani TV station, where she meets Shehnaz Saeed, famed actress who is returning to the spotlight after years of retirement. Shehnaz also happened to be an old, close friend of Aasmaani’s mother. Aasmaani’s family tree is complicated. Her parents were married for less than a year, her activist mother was in love with a famous Pakistani poet, and Aasmaani was raised by four parents—mum, dad, stepmother and the Poet. But then the Poet died, and Aasmaani’s mother disappeared. And now, 14 years later, Shehnaz waltzes into Aasmaani’s life, bearing strange letters in some sort of code. She has received these letters from a nameless fan, and, remembering that Aasmaani’s mother and the Poet corresponded in code, she passes the notes to Aasmaani. Could these mysterious messages contain clues that would explain Aasmaani’s mother’s disappearance, or the Poet’s death? Aasmaani, who remembers the code from childhood, translates the letters and becomes convinced that the supposedly dead Poet is writing them. Thus the heart-pumping plotline. Has the Poet really been held captive these many years? And what happened to Aasmaani’s mother? But intrigue isn’t the only trick Shamsie has up her sleeve. This is also a story about parents and children, about Aasmaani trying to make peace with her strange childhood. It is a story about love, as Aasmaani and Shehnaz’s son find themselves drawn to each other. And there’s politics, to boot. The political backdrop—criticism of America, anxiety about the role of fundamentalists in Pakistani government—remains just that, a backdrop; it never overshadows, but rather somehow expands, the story.
Aasmaani herself is this strong novel’s greatest strength. She’s a remarkable narrator, in a thoroughly captivating tale.Pub Date: June 1, 2005
ISBN: 0-15-603053-5
Page Count: 352
Publisher: Harvest/Houghton Mifflin Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2005
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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