Fiction more skillful than memorable.
Five longish, often familiar, but always readable stories by Freudenberger—like Jonathan Safran Foer, a New Yorker discovery in its Summer 2001 Debut Fiction issue.
In the title piece (reprinted from that New Yorker issue), an American girl who paints has an affair with a native Delhi man. When he unexpectedly dies, she’s left in a kind of limbo, half-looked-after by the dead man’s imperious mother, but not really belonging any longer in Delhi—a fact made cruelly obvious when the dead lover’s widow says to her one day, “I have my sons. . . . And you have no one.” Longer, looser, and less successful is “The Orphan.” An American girl calls home from Bangkok to tell her mother she’s been raped by her Thai boyfriend. Result? Meek and wan mother, cold and pompous lawyer father, and college-age brother descend upon her in a “rescue” attempt. All four are spoiled, they fight and nip among themselves, not one is appealing in the least way—and the story’s symbols labor against what’s asked of them. Altogether more successful—and the best here—is “Outside the Eastern Gate,” about another American girl, this one scarred by her poetically (and carelessly) flamboyant mother’s abandonment of her—in more than one way. At age 40, the girl returns to her father in his expatriate home in India, where the past crumbles, just as does her father’s mind under Alzheimer’s. Equally good in its details but much less commanding in it subject is “The Tutor.” The American girl lives in Bombay this time, with her divorced father (the mother went back to the US), attending American school and acting like—oy, like a teenager. It’s SAT time: she’s good in the math but needs work with the verbal, gets a tutor who went to Harvard—and manages to lose her virginity to him. Longest and most strained for its effect is “Letter from the Last Bastian,” about a Vietnam-era novelist and the girl of 17 who’s writing this long letter about him—and her.
Fiction more skillful than memorable.Pub Date: Sept. 1, 2003
ISBN: 0-06-008879-6
Page Count: 240
Publisher: Ecco/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2003
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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