There’s a fairy-tale quality to the narrative voice and extreme premises of this book that some will find endearing.
He’s a celebrity dentist and a prince of a guy; she’s a damaged, brilliant young woman obsessed with someone she dated in college. Can their marriage be saved?
Lizzie Bultmann, the protagonist of celebrity librarian Pearl’s (Book Lust To Go, 2010, etc.) debut novel, is the daughter of a pair of famous behavioral psychologists at the University of Michigan who raised her not as a loved one but as an experimental subject. Partly because she wants them to “wake…up enough to finally see her” for the extremely unhappy person she is, and also because she somehow thinks it will be fun, she embarks on what she calls The Great Game, in which she has sex with all 23 starters of her high school football team, one per week. Originally, she and her best friend were going to each take half, but the other girl was just joking around. Lizzie grimly executes her plan, resulting in a permanent “post-game show” in her head in which voices berate her for “what a terrible person she’d been and always would be.” The next time Lizzie has sex it is with Jack, a boy she falls madly in love with at college; they bond over their mutual admiration for the poetry of A.E. Housman. (Lots of fun literary references in this book, including a shoutout to Julie Hecht.) Two months later, Jack finds out about The Great Game thanks to an article her evil parents have published in Psychology Today. He disappears forthwith. Though Lizzie begins dating and ultimately marries a boy named George Goldrosen, she never stops thinking about Jack and never loves George. George knows she is profoundly depressed and doesn’t really love him, though he doesn’t know about either Jack or The Great Game—in any case, he's so smitten he just doesn’t care. As he’s busy becoming a famous dentist, Lizzie spends her days in the library, looking through phone books trying to find Jack. This doesn’t seem very believable, but neither does the football team thing or the mad scientist parents or even the marriage.
There’s a fairy-tale quality to the narrative voice and extreme premises of this book that some will find endearing.Pub Date: Sept. 5, 2017
ISBN: 978-1-5011-6289-3
Page Count: 288
Publisher: N/A
Review Posted Online: June 19, 2017
Kirkus Reviews Issue: July 1, 2017
BOOK REVIEW
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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