French’s sixth novel (My Summer with George, 1996, etc.) is filled with pointed insights about womanhood, but not many fully...
Four women parcel out ready-made feminist wisdom to one another, often over tea, in a bucolic New England setting.
Alicia, Maddy, Emily and Jenny form an insular society in an idyllic Massachussetts town. They’re from different generations, pursue different careers and come from different backgrounds, but they find emotional satisfaction in each other’s company. In the beginning, Maddy and Emily, a generation older than the other two, represent the wisdom and reassuring solidity that come from lives led to the fullest. Alicia and Jenny, younger by at least a generation, see in the two older women examples of how to succeed the hard way, admiring them for making independent choices and living on their own terms. For their part, Maddy and Emily see in Alicia and Jenny limitless possibilities for growth and success. The novel moves back and forth between the perspectives of the characters, gradually revealing that each woman, no matter how successful she seems to her friends, has made choices that diminished her. However, the story is nothing if not life-affirming, so no matter what happened to the women in their pasts—from losing contact with a beloved niece to putting artistic greatness on the back burner for the sake of a husband—each will help the other achieve a sense of closure. Paintings are painted, symphonies are performed, marriages are straightened out and families are mended, all with the loving support of a magical friendship circle. There are some bright moments, foremost the carefully drawn characters of Emily and Maddy, but there are many others in which the narrative is so eager to evaluate the benefits and the shortcomings of various strands of feminism that the story falls by the wayside. Jenny and Alicia seem in particular to be cardboard cutouts, and the author’s pedagogic aims trump her interest in fully developed characters and plots.
French’s sixth novel (My Summer with George, 1996, etc.) is filled with pointed insights about womanhood, but not many fully realized women.Pub Date: July 1, 2006
ISBN: 1-55861-521-0
Page Count: 416
Publisher: Feminist Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 2006
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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