She’s one of Latin America’s finest writers, and this is her best novel yet.
An abortive revolution in postwar Puerto Rico parallels a family’s unraveling in Cuban-born Montero’s intricate 2002 novel (her sixth in English translation).
Its narrative is a mosaic assembled from the memories of Andrés Yasin, the son of a half-Lebanese hotelier, Frank, and his beautiful, headstrong younger wife Estela. The present action describes 62-year-old Andrés’s 2000 reunion on the island of St. Croix with elderly, cancer-ridden American J.T. Bunker, the family friend whom Andrés has hated since the aftermath of the 1950 “revolution” in which both adult Yasins had been involved, and which was easily quashed by U.S. military forces, prior to the establishment of the Puerto Rican commonwealth. Montero reveals historical details skillfully, mostly through Andrés’s recollections of his adolescence, when his own inchoate awareness of sex was distracted by evidence of “nationalist” activity (centered in a local barbershop), and by intimations of his mother’s suspiciously close friendship with the dashing American. For Bunker was an amateur pilot, who flew dead bodies from the states to tiny Vieques Island, east of Puerto Rico (the site of Frank’s hotel) for home burial—and also transported small arms for nationalist conspirators. Another series of flashbacks detail the adult Andrés’s 1973 visit to the U.S., where his dying father lives with his second family—and begins to reveal the truth about Estela’s infidelity and his family’s complicity in the failed revolution. Then the full truth emerges years later in St. Croix, as “the captain of the sleepers” prepares for his final flight. Montero—who has a wizard’s ability to transfix readers’ attention as she peels away successive, deceptive layers of plot and meaning—has never written better than in this increasingly suspenseful tale of divided loyalties and lingering resentment and sorrow.
She’s one of Latin America’s finest writers, and this is her best novel yet.Pub Date: Sept. 15, 2005
ISBN: 0-374-11882-5
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 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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