A caustic portrait of the blank generation facing middle age.
French punk rockers get old.
There’s a lot of Gen X history here, some aging French pop culture, and a general feeling of hysteria at living in a dystopian time. Let’s start from the top. Despentes (Pretty Things, 2018, etc.) is a French writer, filmmaker, etc. who is most famous for her debut novel, Baise-Moi (1992), which she adapted and directed into the controversial cult film. Like her characters, the author seems to have aged but not grown, which isn’t all that troublesome at a time when Danny Boyle has fashioned Irvine Welsh’s profane swindlers from Trainspotting (1993) into a sequel. This is literally a portrait gallery of French punk rockers passing middle age, most of them badly. The central figure is the titular 50-ish Vernon Subutex, who can pretty much be summed up by “used to own a record store.” (Thanks, High Fidelity.) Much like a TV series (Surprise! There's already a French series based on this book), this is a soap-operatic portrait of a variety of burnouts rather than an actual narrative. With Vernon as the central figure and the death of famous rock star Alex Bleach as the semi-uniting event, Despentes drops in on the lives of a dozen or so desperate people who don’t know how to fill the holes in their own lives. Vernon is simple: He's broke and couch-hopping at the best of times. Most notable is Xavier Fardin, nominally a screenwriter but mostly a psycho who makes Welsh’s Begbie look like a lapdog by comparison. We also visit Vernon’s weird ex, Sylvie; Laurent, a successful but obsessive filmmaker; ex-porn star Pamela, who is still competing with her dead rival; and Lydia Bazooka, a journalist who doesn’t know it’s too soon to start a biography of Alex. The writing here is evocative of any number of transgressive writers, including Welsh and Kathy Acker, but while the characters are tangible, the lack of a narrative keeps the book from feeling satisfying.
A caustic portrait of the blank generation facing middle age.Pub Date: Nov. 5, 2019
ISBN: 978-0-374-28324-7
Page Count: 352
Publisher: Farrar, Straus and Giroux
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 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
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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