Wanting it both ways: lots of pulpy sex embedded in a tale that eventually turns and tries to paint itself as moral vision.”
A debut tries, somewhat desperately, to put spirituality and love back into the modern romance story.
You’re Carter Cox, the 39-year-old photographer protagonist of a second-person love story. You have affairs with beautiful models on a regular basis, but life just isn’t satisfying. Not even your Buddhism is helping. “So what is Buddhism exactly?” you think. “You often wonder about this when you sit down to meditate back home.” Then you meet Mia, who thinks you look like Jeff Bridges. Mia studies Art History in Texas, in addition to Buddhism. You’re captivated by her. “My Buddha statue holds your flower,” you write her. She plays hard to get—really, hardest to get, because she’s a true virgin. You try to reconcile arousal with Om Mani Padme Hung. But don’t worry, Mia will agree to an innocent romance—not quite before you buckle and purchase those porn DVDs, but before you slip them into the hard drive. The romance that follows won’t run smooth, as you’re still caught up in that decadent nonspiritual of sex with supermodels, sometimes with more than two people present. But Mia is so tempting, and isn’t your refusal to shoot for Playboy an indication that you really long for something pure? Perhaps taking Mia to Marrakesh will reveal whether the two of you are soulmates who can live up to the meaning of “full-sexual penetration.” In contrast to Bright Lights, Big City, where the second person was a stand-in for indictment and shame, the device here seems intended solely to make you think you care more than you probably do for this Colin Harrison prose dressed up for Easter Sunday. Casablanca has mischief and suspense for our clean lovers, but is it enough for you to give in and pop the question after all these dirty years?
Wanting it both ways: lots of pulpy sex embedded in a tale that eventually turns and tries to paint itself as moral vision.”Pub Date: May 9, 2003
ISBN: 0-06-052390-5
Page Count: 336
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2003
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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