The self-seriousness of Robbe-Grillet’s early experimental fiction has devolved into a grave playfulness. Mostly, though,...
Though it’s been 20 years since his last novel, the clock has stopped in more ways than one on Robbe-Grillet’s latest and (as its title aptly suggests) least novel nouveau roman.
The sometime narrator’s troubles begin even before his train pulls into Berlin in 1949. The untried secret agent wearing a false mustache and traveling on a passport identifying him as engineer Henri Robin returns to his compartment to find that his place has been taken by a man who looks just like him—even more like him than he does, since the double lacks the mustache. Is he a natural twin, a tormentor, or perhaps (here comes the Robbe-Grillet twist) the real narrator? Leaving him behind, maybe, Robin enters the divided city, where he’s to provide an objective observer’s account of a murder scheduled to be committed in the square outside his lodgings. The murder goes off on cue, but Robin’s hopelessly muddled account of it—who’s shot Colonel Dany von Brücke? what’s become of his body? is he actually dead?—portends a more generalized breakdown of the narrative contract. As a carping annotator begins to find more misleading factual inaccuracies, grammatical inconsistencies, and deceptions in his tale of moving in with von Brücke’s widow Joëlle Kast and his nubile schoolgirl daughter Gigi, Robbe-Grillet figures the unreliability of the narrator, now calling himself Boris Wallon and Franck Matthieu, by obsessively referring to the story of Oedipus, recalling not only Sophocles and Kierkegaard but Robbe-Grillet’s celebrated first novel The Erasers (1955), and by returning to the strain of sadistic pedophilia that’s run through his work from The Voyeur (1957) to La Belle Captive (1995).
The self-seriousness of Robbe-Grillet’s early experimental fiction has devolved into a grave playfulness. Mostly, though, the narrator is right on the money from the opening line: “Here, then, I repeat, and I sum up.”Pub Date: Feb. 20, 2003
ISBN: 0-8021-1736-8
Page Count: 192
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2002
BOOK REVIEW
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
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
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