There’s no denying Whitbread Award winner Cusk’s talent and gimlet eye for revealing details, but she used to have more...
Diamond-hard portrait of family life as warfare.
Sometimes it’s a simmering conflict, like Thomas and Tonie Bradshaw experiencing confusion and resentment over their redefined roles as he takes a leave of absence to care for their daughter Alexa when Tonie is promoted from part-time lecturer to full-time head of her university’s English department. Sometimes it’s loud, disorderly combat, prompted by Thomas’ brother Howard perennially augmenting the chaos in his household while wife Claudia wails that all these kids and animals and stuff are keeping her from painting. It can be ugly hand-to-hand maneuvers for advantage, as the men’s father, Charles, refuses to have tea because his wife is late, or forces her to get rid of six boxes containing childhood mementos, which she weepily manipulates Thomas into storing in his much smaller house. Or it can be the detonation of really nasty landmines: “What a waste!” moans Mrs. Swann when daughter Tonie proudly displays new curtains she had made from antique silk. “I’ve got boxes of old pairs I could have given you…all beautifully lined, with proper pelmets.” Only the youngest Bradshaw brother Leo and his wife Susie don’t seem aggressive—and that’s because they’re drunk most of the time, as their young children are well aware. The Swanns and elder Bradshaws are cold, withholding monsters, Claudia is a professional martyr, Howard is jovially clueless, Leo and Susie are drowning in insecurity; Thomas and Tonie, though more substantially characterized, are no more engaging. The plot, such as it is, lurches forward during Thomas’ year at home as he becomes unmoored and Tonie is tempted by infidelity, developments that both play a role in Alexa’s near-fatal bout of meningitis. Somehow it’s no surprise that this dark tale climaxes with the dog dying.
There’s no denying Whitbread Award winner Cusk’s talent and gimlet eye for revealing details, but she used to have more compassion for human frailty than she’s displayed in her recent work (The Last Supper, 2009, etc.).Pub Date: April 6, 2010
ISBN: 978-0-374-10081-0
Page Count: 240
Publisher: Farrar, Straus and Giroux
Review Posted Online: Jan. 21, 2011
Kirkus Reviews Issue: Jan. 1, 2010
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
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
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