Baxter is a master of stealth, easing us by degrees from a world shaped by love toward a creepy nihilism. His deft fusion of...
What seems like a safe haven for a loving young couple is shattered by a high-school dropout’s suicide: Baxter’s latest follows The Feast of Love, an NBA finalist in 2000.
Saul and Patsy met at Northwestern, where they quickly fell in love, animal passions blending with a rare intimacy of mind and spirit. Now here they are, young marrieds, still passionate, living in semi-rural Michigan; Saul is a high-school teacher in a featureless city. Though an angst-ridden urban Jew, Saul enjoys the “indifference” of the Heartland; besides, he’s on a mission to undo “the dumbness.” How ironic, then, that he rolls the car after some serious drinking. He and Patsy find refuge in the home of a former (dumb) student, already married to his high-school sweetheart. Saul admires their simple ways and becomes a voyeur, detouring past their “damnable house of happiness,” never dreaming he will soon acquire a voyeur himself. Patsy has had a baby girl and Saul takes some baby pictures into his remedial English class, whose dumbest student, Gordy Himmelman, plainly loathes him. Gordy starts showing up on their front lawn, staring, immobile; one time he produces an unloaded gun. Saul drives the parentless Gordy back to his aunt Brenda, a benighted hag-like waitress, but Gordy keeps returning until one day, with the storybook family watching, he blows his brains out. In death, Gordy becomes the object of a high-school cult. Kids bleach their hair and call themselves “Himmels.” Saul, who has figured out that Gordy was “offering himself . . . for adoption,” becomes a scapegoat. The climax comes on Halloween when eight kids drive up, arson and worse on their minds. Saul, drawing on dramatic and parenting skills he never knew he had, brilliantly defuses the crisis.
Baxter is a master of stealth, easing us by degrees from a world shaped by love toward a creepy nihilism. His deft fusion of a love story with a post-Columbine psychodrama is a major achievement.Pub Date: Sept. 9, 2003
ISBN: 0-375-41029-5
Page Count: 336
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2003
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
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