Having yawned at hyper-decadent L.A. in Less Than Zero (1985), Ellis here seems just as bored with the ultra-hip rich kids wasting time by getting wasted at super-chic Camden College (read: Bennington) in chilled-out New England. For lack of an apparent plot or point, Ellis strings together a series of deliberately listless vignettes, each narrated by one of the many terminally numb characters who sleep walk through this nightmare. At the center of the various competing narratives is the "so good-looking" Sean Bateman, who describes his college pursuits thusly: "Get drunk, screw constantly." And he does both with little concern for anyone else. He lies, cheats, and shoplifts mainly in an effort to cover up the fact that he's mega-rich, but also because he's just plain nasty—to his dying father, his yuppie brother, and to all his lovers at school, especially Paul, an unabashedly gay drama major who's self-deluded enough to misread Sean's cryptic remarks as true love. Sean's all-purpose comments ("Rock 'n' roll" and "Deal with it") eventually infuriate his other main squeeze, Lauren, who took up with Sean only because her lover, Victor, is in Europe. The other indistinct voices heard here belong to Stuart, who lusts for Paul at a distance; Mary, who leaves anonymous mash-notes for Sean, then slashes her wrists when he ignores her at a "Dressed to Get Screwed Party"; Victor, who doesn't even remember Lauren; Mitchell, who's trying to forget his homosexual past with Paul; and so on in this bisexual daisy-chain of a novel. Only Bertrand, a French student who writes articles for the school paper on herpes and Ecstasy (the drug), sounds distinct—his brief bit is transcribed in Ellis' Intermediate French. A few Camden characters from Jill Eisenstadt's new novel (see above) have cameos here—a much-publicized in-joke between these fellow Benningtonites. Without an authorial voice of any kind, it's difficult to blame Ellis himself for the shaky grammar and inept prose, but it does make you wonder.
Pub Date: Sept. 17, 1987
ISBN: 067978148X
Page Count: 290
Publisher: Simon & Schuster
Review Posted Online: Sept. 22, 2011
Kirkus Reviews Issue: Aug. 15, 1987
SEEN & HEARD
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
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
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