Another witty, elegant story from a writer whose atavistic vision of romantic love is resonant and deeply satisfying....
A feminist, fabulist, magical realist romance set in London and Africa, originally published in 1983.
After Mrs. Caliban (1982), an electrifying story of passion between an oppressed suburban housewife and a sexy green sea monster, Ingalls wrote this novel, featuring another underappreciated heroine whose claustrophobic life is about to blow wide open. Millie Binstead has begged to come along with her husband, Stan, minor academic and major creep, on a research trip to London and then Africa. When she offers to pay her own way from New England out of a recent inheritance, he is forced to agree. As soon as they get to London, he dumps her at the hotel and goes off to "work" with a colleague. Finally on her own and out in the world, Millie is not timid and miserable but wholly reborn. Everyone she meets is struck by how insightful, funny, and attractive she is; she is having the time of her life. By the time they get to Africa, Stan is wondering what the hell happened to his mousy, subservient little wife, who will now barely give him the time of day. At this point, the book becomes a deliciously gossipy take on colonial safari culture: the guides, the drivers, the rich tourists, the natives, the boozy, raunchy, sometimes-gory goings-on in town, out in the bush, and up in the sky in hot air balloons. Stan's plan is to investigate the local myths about a Lion God, a man with "supernatural powers in battle and medicine, and love," who can turn himself into the king of beasts when the going gets tough. If such a creature exists, he may be a con artist; Stan is on his trail. As much as it is a love story, this is also a story of revenge, which Stan defines from the perspective of primitive folklore: "the ceremony in which you reproduce the previous act in a slightly altered way or with a reversed outcome, and then it cancels what took place before." Yup, Stan, that's it.
Another witty, elegant story from a writer whose atavistic vision of romantic love is resonant and deeply satisfying. Escaping the overblown egos and endless self-indulgence of the males of their own species, Ingalls' women find their true soul mates elsewhere.Pub Date: Feb. 28, 2019
ISBN: 978-0-8112-2846-6
Page Count: 224
Publisher: New Directions
Review Posted Online: Oct. 27, 2018
Kirkus Reviews Issue: Nov. 15, 2018
A thoughtful and pensive tale with intelligent characters and a satisfying romance.
A promise to his best friend leads an Army serviceman to a family in need and a chance at true love in this novel.
Beckett Gentry is surprised when his Army buddy Ryan MacKenzie gives him a letter from Ryan’s sister, Ella. Abandoned by his mother, Beckett grew up in a series of foster homes. He is wary of attachments until he reads Ella’s letter. A single mother, Ella lives with her twins, Maisie and Colt, at Solitude, the resort she operates in Telluride, Colorado. They begin a correspondence, although Beckett can only identify himself by his call sign, Chaos. After Ryan’s death during a mission, Beckett travels to Telluride as his friend had requested. He bonds with the twins while falling deeply in love with Ella. Reluctant to reveal details of Ryan’s death and risk causing her pain, Beckett declines to disclose to Ella that he is Chaos. Maisie needs treatment for neuroblastoma, and Beckett formally adopts the twins as a sign of his commitment to support Ella and her children. He and Ella pursue a romance, but when an insurance investigator questions the adoption, Beckett is faced with revealing the truth about the letters and Ryan’s death, risking losing the family he loves. Yarros’ (Wilder, 2016, etc.) novel is a deeply felt and emotionally nuanced contemporary romance bolstered by well-drawn characters and strong, confident storytelling. Beckett and Ella are sympathetic protagonists whose past experiences leave them cautious when it comes to love. Beckett never knew the security of a stable home life. Ella impulsively married her high school boyfriend, but the marriage ended when he discovered she was pregnant. The author is especially adept at developing the characters through subtle but significant details, like Beckett’s aversion to swearing. Beckett and Ella’s romance unfolds slowly in chapters that alternate between their first-person viewpoints. The letters they exchanged are pivotal to their connection, and almost every chapter opens with one. Yarros’ writing is crisp and sharp, with passages that are poetic without being florid. For example, in a letter to Beckett, Ella writes of motherhood: “But I’m not the center of their universe. I’m more like their gravity.” While the love story is the book’s focus, the subplot involving Maisie’s illness is equally well-developed, and the link between Beckett and the twins is heartfelt and sincere.
A thoughtful and pensive tale with intelligent characters and a satisfying romance.Pub Date: Feb. 26, 2019
ISBN: 978-1-64063-533-3
Page Count: 432
Publisher: Entangled: Amara
Review Posted Online: Jan. 2, 2019
Kirkus Reviews Issue: Feb. 15, 2019
Review Program: Kirkus Indie
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
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