by Paul Theroux ‧ RELEASE DATE: May 22, 2012
Theroux has recaptured the sweep and density of his 1981 masterpiece The Mosquito Coast. That’s some achievement.
A joyful return to Africa turns into a nightmare for the elderly American protagonist of Theroux’s extraordinary novel.
As a young man, Ellis Hock loved teaching in Malawi for the Peace Corps, happiest years of his life. (Theroux did a hitch there; see his early novel Jungle Lovers.) Then he had to return to suburban Boston to run the men’s-clothing store he’d inherited. Thirty-five years later, the store and his marriage having failed, he returns to Malawi for a nostalgia-induced vacation. He’s warned on arrival that people are hungry and only want money, but he heads into the bush with a bagful of it, another mzungu (white man) who knows best. Malabo, the remote riverbank village where he’s remembered as the mzungu who helped build the school and clinic, gives him a warm welcome, but Hock’s disillusion sets in fast. The school is a ruin; the visiting doctor is a quack; AIDS is rampant; requests for money are constant. The villagers keep him under surveillance at the direction of the headman Manyenga, who is all smiles and lies. One bright spot is his reunion with Gala, the woman he loved, and the presence of her 16-year-old granddaughter Zizi, who waits on Hock and is fiercely loyal to him. The snakes, too, are a blessing. They terrify the villagers, but Hock handles them fearlessly, using them as protection once he realizes he is being held captive. He makes three escape attempts. The second takes him downriver into Mozambique. There Hock runs into a community of starving but deadly children and a food drop, horribly bungled by white Westerners; these scenes are devastating. All his escapes are foiled by the formidable Manyenga. The suspense is enriched by Theroux’s loving attention to local customs and his subversive insights. As Hock weakens in body and spirit, Zizi just grows stronger. Could she be his savior?
Theroux has recaptured the sweep and density of his 1981 masterpiece The Mosquito Coast. That’s some achievement.Pub Date: May 22, 2012
ISBN: 978-0-547-74650-0
Page Count: 336
Publisher: Houghton Mifflin Harcourt
Review Posted Online: March 18, 2012
Kirkus Reviews Issue: April 1, 2012
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by Margaret Atwood ‧ RELEASE DATE: Sept. 10, 2019
Suspenseful, full of incident, and not obviously necessary.
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Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
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edited by Margaret Atwood & Douglas Preston
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
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