Complex and difficult, as are all of Krasznahorkai’s works, but worth sticking with.
The world goes on indeed, and it’s not pretty: so Hungarian novelist Krasznahorkai (The Last Wolf and Herman, 2016, etc.) instructs in this existentialism-tinged set of linked stories.
It could just be the Rivotril talking, but when Krasznahorkai’s narrator gets going on the subject of cosmonaut Yuri Gagarin, it quickly turns into a conspiracy theory full of ominous warnings about shadowy doctors, vodka, and the KGB: “Gagarin had to disappear for good, and of course, the way in which he died—that one of the nations, indeed one of the world’s greatest heroes would perish due to such a simple test flight—was inconceivable, I had to understand this.…” The Gagarin story opens on an urgent note of leave-taking: “I don’t want to die,” Krasznahorkai writes, “just to leave the Earth,” which subtly echoes the opening words of the collection itself: “I have to leave this place, because this is not the place where anyone can be, and where it would be worthwhile to remain….” That echo sounds at many points throughout the book, a whirlwind of sentences that run on for 10 pages and more at a time and that evoke a world-weary pessimism over human beings and their strange ways. Renouncing the very promise of salvation, a bishop declares that “no one shall attain heavenly Jerusalem,” adding, “and the distance which leads to Your Son is unutterable,” while on a more terrestrial plane, a banker grumbles over audits and paper trails and fearful CEOs. The spirit of James Joyce hovers over Krasznahorkai’s pages, and Nietzsche is never far away, either; indeed, the German philosopher appears early on, breaking down into madness on witnessing a horse being whipped in a Turinese street. In dense, philosophically charged prose, Krasznahorkai questions language, history, and what we take to be facts, all the while rocketing from one corner of the world to the next, from Budapest to Varanasi and Okinawa, all places eminently worthy of being left behind.
Complex and difficult, as are all of Krasznahorkai’s works, but worth sticking with.Pub Date: Nov. 15, 2017
ISBN: 978-0-8112-2419-2
Page Count: 358
Publisher: New Directions
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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
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
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
