A fierce and evocative telling of the strangled arc of a peace-loving people.
A young man’s journey of self-discovery illuminates the heart-wrenching history of the Chagos Archipelago, a little-known part of the world.
Coming-of-age in Mauritius, Désiré has always felt like an outsider. After all, he traces his ancestry back to Diego Garcia, a tiny island in the Indian Ocean. But why does his birth certificate claim he was born in Seychelles? And why is his pet name also the name of a boat? The answers lie in the history of Diego Garcia, a tranquil island in the Chagos Archipelago that found itself in the crosshairs of the Cold War. The island, which was part of the British Empire for decades, eventually became part of Mauritius after that island nation won independence. But in some convoluted international maneuvering, the United States requested that Diego Garcia be handed over, uninhabited, for use as a strategic military base. The result: a forced evacuation of thousands of citizens in just an hour in 1968; natives were eventually displaced to Seychelles or Mauritius. Désiré and his mother Raymonde’s story is set against this tragic backdrop. A pregnant Raymonde is forced to evacuate but gives birth while at sea. The infant Désiré is hastily given papers at Seychelles before being packed along to Mauritius. Patel, a Mauritian journalist, uses her cast of characters to narrate a keenly observed story, translated from French, about displacement. “Memory is a hook that sinks into your skin. The harder you pull, the more it tears your flesh, the deeper it sinks. There is no way to get it out without ripping your skin apart,” one of the characters points out. If at times the story reads like a thinly veiled history lesson and the nonlinear narrative feels gimmicky, it nevertheless serves an important function: to inform readers about the unseen collateral damage of geopolitical games of Risk. The bullies on the playground dictate the terms since they know the weaker players have no currency they can truly leverage.
A fierce and evocative telling of the strangled arc of a peace-loving people.Pub Date: Nov. 5, 2019
ISBN: 978-1-63206-234-5
Page Count: 178
Publisher: Restless Books
Review Posted Online: Sept. 1, 2019
Kirkus Reviews Issue: Sept. 15, 2019
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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