Wyoming-based Blevins, whose specialty has been the American West (the paperback High Missouri, etc.), expertly delves into the psyche of a warrior guided by mystic visions. When the story opens, Crazy Horse is a 16-year-old Lakota Sioux with the teenage name of Light Curly Hair—he won't be known as Crazy Horse until he earns his father's title. Meanwhile, because his hair is so different from anyone else's in the tribe, a rumor is spread that he has white blood. It's untrue, but the rumor works to make Light Curly Hair feel apart and isolated. He's also troubled by visions in which he sees himself as a warrior and holy man, a leader who can't be harmed by the white man's bullets. Light Curly Hair's mentor urges him to seek the fulfillment of his visions, but he resists, afraid of the burden. Simultaneously, the tribe feels other pressures: Buffalo are scarce, people are hungry, and the whites are violating the newly signed treaties. When the Civil War ends, more troops, settlers, and miners descend on Lakota lands. By this time, Curly Hair is Crazy Horse. He's distinguished himself in battle against white soldiers, and the warriors trust his leadership, even in retreat—Crazy Horse knows that courage must be tempered by intelligence. He's also accepted the rightness of his visions, as well as the hardships of being a ``holy warrior'' (going unmarried, rejecting nearly all material things). He fights for ``the old ways'' and the ``hunting life,'' but he and the Sioux are inexorably beaten down (despite their victory at Little Big Horn). Later, the humiliations of reservation life make tribe members more petty, more political, more, in Crazy Horse's point of view, white—foreordaining his own betrayal and murder. Many-layered and complex: Blevins reveals a truly human Crazy Horse, and a tribal life that is completely believable.
Pub Date: June 1, 1995
ISBN: 0-312-85567-2
Page Count: 384
Publisher: Forge
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1995
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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