To quote the Professor: “Time is a clutter . . . and it needs to be sorted out.” So is, so does Gazelle.
Muted characterization and action and a voluptuous superabundance of arcane hocus-pocus: such are the keynotes of this febrile eighth novel from the writer-painter whose earlier, much similar fiction includes The Complete Butcher’s Tales (1994) and Phosphor in Dreamland (1995).
The story’s narrated in retrospect by Elizabeth, a trained anatomist who specializes in examining mummified bodies, 20 years after she had lived in Cairo with her “Professor” father (bankrolled by a Fulbright grant) and epically promiscuous Icelandic mother. “Mother,” a sexual force of nature devoid of moral scruples, ran through multiple lovers, seeking her ideal Egyptian man: “the gazelle type.” The Professor, an expert in the mechanics of poisoning (whose book The Ethics of War had attracted CIA interest), and a hitherto strictly “rational” man, drowned his grief in chess games reimagined as historic battles with master parfumier Ramses Ragab. As always, Ducornet conjures up fragrant excerpts from texts both real (The Arabian Nights) and imaginary (the “licentious” Garden of Semblance and Lies, the writings of alchemist Athanasius Kirchner, who studied Egyptian hieroglyphics in hopes of creating an encyclopedic summa of human experience). Rather late in the game, things do begin to happen, as the Professor summons a magician to bring back his vagrant wife (she does return, after mumbling incantations replete with dark cosmic clichés—but she stays only for breakfast). Meanwhile, Elizabeth's awakened sexuality leads her to intimacy with secrets possessed and conjured by Ramses Ragab, independence from both her mother's destructive sexuality and her father's abdication from reality, and—on shipboard, as she and the Professor, having abandoned all hope, return to America—the “gazelle man” who makes her a woman (“my heart thrashed like an eel under the net of his eyes”). Ducornet's aphoristic élan makes all this nonsense agreeably smooth, if insubstantial and arbitrary.
To quote the Professor: “Time is a clutter . . . and it needs to be sorted out.” So is, so does Gazelle.Pub Date: July 29, 2003
ISBN: 0-375-41124-0
Page Count: 208
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
