Given the high-concept premise, Parkhurst (The Dogs of Babel, 2003) has avoided the pitfall of simply engineering a joyride,...
Twelve contestants on a round-the-world scavenger hunt compete for reality-TV fame and a million-dollar jackpot.
The latest reality-TV show to go into production, Lost and Found is down to its last six pairs of contestants. Cameramen and sound crew trail each duo as they careen through international airports lugging a parrot in a cage, an aviator helmet and a ski pole, en route to clues that will lead them to other equally hard-to-travel-with objects. What with jet lag, drastic time-zone changes and the grueling challenges of the intermittent daredevil rounds (milking rattlesnakes, being buried to the neck in hot sand), relations between team members are frayed: 18-year-old Cassie and her newly slimmed-down, long-widowed mother Laura are NOT TALKING about the baby Laura carried unnoticed to term and gave up for adoption; Juliet and Dallas, former child stars, find the spotlight isn’t big enough for both of them; Carl and Jeff, brothers both recently divorced, disagree as to whether their lifelong joke-meister routines are appreciated by the others; Betsy and Jason, former high-school sweethearts reunited for the trip, learn that they’ve long outgrown each other; Trent and Riley, techno-whizzes who caught the dot.com wave and bailed in advance of the crash, are having trouble with the mundane; and Justin and Abby, both “ex-gays,” now born-again Christians, discover that their marriage to each other hasn’t put a stop to “sinful desire.” As the teams decode rhymed clues that send them from a Cairo nightclub to a Shinto palace in Japan, and further on around the globe, the show’s producers manipulate contestants’ exhaustion to orchestrate juicy confrontations for the cameras. Told from different characters’ points of view, this novel manages, despite its madcap premise and full-frontal exposure of crass American greed, to deliver several sympathetic characters.
Given the high-concept premise, Parkhurst (The Dogs of Babel, 2003) has avoided the pitfall of simply engineering a joyride, and written a funny second novel that surpasses her first.Pub Date: June 13, 2006
ISBN: 0-316-15638-8
Page Count: 304
Publisher: Little, Brown
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: March 15, 2006
BOOK REVIEW
BOOK REVIEW
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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