This tightly contained, densely packed story issues a challenge that never loses its urgency: how does a person cling to a...
This ribald, acerbic, and poignant coming-of-age story throws open a window to an African nation’s struggle for maturity.
Mabanckou’s crafty, edgy bildungsroman is set in the author’s native Republic of the Congo (or Congo-Brazzaville, as it is often called to distinguish it from the Democratic Republic of the Congo, formerly known as Zaire). Its hero bears the unwieldy name Tokumisa Nzambe po Mose yamoyindo abotami namboka ya Bakoko, whose rough translation is: “Thanks be to God, the black Moses is born on the earth of our ancestors.” Little wonder he’s called “Black Moses” or “Moses” or even “Mose” for short at the orphanage on whose doorstep he was abandoned as an infant. Life for Moses is bewildering but relatively bucolic until his 13th year, when the orphanage’s priest—who served as surrogate father to him and the other boys—vanishes and its director announces a new regime of strictly enforced obedience to the ruling Congolese Workers' Party. If anybody’s more evil than the director, it’s the 17-year-old twins Songi-Songi and Tala-Tala, who impose their own reign of terror on the other orphans, complete with sadistic physical reprisals. Moses fears such reprisals when he laces their food with hot pepper, but the twins recruit him as a collaborator (whom they later dub “Little Pepper”), and all three escape to the seaside metropolis of Pointe-Noire, where nefariousness on an even grander scale awaits them. Though no dates are provided, those familiar with the tumultuous history of Congo-Brazzaville in the 20th century are able to figure out that the disruptions and upheavals in Moses’ life occur in tandem with the ascent of the country’s totalitarian, repressive, and often corrupt politics in the 1970s, '80s, and '90s. But it’s not necessary to know such details to appreciate Mabanckou’s narrative ingenuity and his authoritative compassion toward his people’s history, both collective and personal.
This tightly contained, densely packed story issues a challenge that never loses its urgency: how does a person cling to a sense of autonomy when it’s under siege by so many powerful forces?Pub Date: June 6, 2017
ISBN: 978-1-62097-293-9
Page Count: 208
Publisher: The New Press
Review Posted Online: March 20, 2017
Kirkus Reviews Issue: April 1, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
© 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.
