The realities of day-to-day existence in 1340s Europe are so viscerally represented that readers will readily accept the...
A New York neurosurgeon finds herself in medieval Siena facing a career change, plague, and true love.
Beatrice Trovato, 33, is ripped from her surgical work by the untimely death of her brother, Ben, a historian who was researching a persistent mystery about his adopted home, Siena, Italy: why, besides misfortune, rats, and fleas, had post-pandemic Siena never quite recovered its prominence as a Tuscan city-state compared to its rival, Florence, which the bubonic plague also attacked? Taking a sabbatical from brain surgery, Beatrice moves into Ben’s centuries-old Siena row house and sifts through dusty archives, intent on continuing her brother’s quest. While in a church, perusing the journal of early Renaissance fresco master Gabriele Accorsi, she blacks out and somehow (the physics of time travel are not this novel’s concern) wakes up in 1347 Siena. There follows an entertaining junket as Beatrice searches for the proper medieval garb (narrowly escaping the Sienese wardrobe police), enjoys the food (Ur-farm-to-table), and communicates fluently with 14th-century Tuscans using modern Italian (linguistic niceties are also not a concern). Her rare, for a woman, literacy skills land Beatrice a job as a scribe at Siena’s Ospedale, the local monastery/hospital/poorhouse, where she copies Dante manuscripts, legal contracts, and other documents. She meets Gabriele, who’s been hired to paint a religious mural outside her workroom wall. After he rescues her from a monastery fire, their very chaste courtship begins. Accorsi had already imagined her and painted her into other work, which she had puzzled over in the 21st century. When he takes her home to meet his family, they turn out to live in Ben’s future house. Meanwhile a subplot reveals more about the enigmas Ben was pursuing—involving the Florentine Medicis. A trip to Sicily, where the plague begins, more time travel, life-threatening illness, and other trials, virtual and literal, ensue before the novel’s questions, mainly involving personal lives as opposed to Back to the Future ripple effects, are answered.
The realities of day-to-day existence in 1340s Europe are so viscerally represented that readers will readily accept the fanciful premise.Pub Date: May 16, 2017
ISBN: 978-1-5011-5225-2
Page Count: 464
Publisher: N/A
Review Posted Online: Feb. 20, 2017
Kirkus Reviews Issue: March 1, 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
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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