The eponymous mist seems to cloud the writing, and the meandering tale ends quickly with a conclusion that still seems...
The moody countryside wanderings of an adventurer Hill (A Question of Identity, 2013, etc.) sends on a glacially paced adventure in search of the truth about his hero.
After an unconventional childhood during which he was raised in Africa by a distant guardian, Sir James Monmouth has made his life traveling the world questing for adventure. He seeks in part to travel in the footsteps of his hero, the famous (or infamous) Conrad Vane. On his arrival in England, Monmouth plans to learn the history surrounding Vane, from his early life onward. Though all those he meets try to dissuade him from this quest, citing feelings of wariness and concern for Monmouth, he soldiers on, tracking down a surprising connection between Vane’s life and his own. Once his research becomes personal, Monmouth is more determined than ever to learn about Vane’s history as well as his own. With the help and support of his new friend Lady Quincebridge, Monmouth traces his origins to the mysterious and remote Kittiscar Hall. Although Lady Quincebridge insists that Monmouth give up when the madness of researching Vane begins to infect him as an illness, Monmouth cannot rest until he understands how their lives are intertwined. His journey to Kittiscar Hall holds secrets that Monmouth had never guessed and yet always instinctively knew—and not only secrets, but danger too.
The eponymous mist seems to cloud the writing, and the meandering tale ends quickly with a conclusion that still seems obscure. Even if Monmouth doesn’t deserve the truth, doesn’t the loyal reader?Pub Date: Feb. 4, 2014
ISBN: 978-0-345-80667-3
Page Count: 288
Publisher: Vintage
Review Posted Online: Jan. 8, 2014
Kirkus Reviews Issue: Jan. 15, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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