Jungersen writes brilliantly and raises knotty questions of identity—who, after all, is the “real” Frederik?—and of moral...
An intelligent, at times even intellectual, novel about philosophical issues of identity and moral responsibility.
Mia Halling is at her wits’ end with her husband, Frederik, for he’s recently been showing highly irrational and unpredictable behavior, such as being exceptionally quick to anger and calling her vile names. Frederik is the headmaster at Saxtorph, a prestigious school in Denmark, and seems to have much going for him, including a loving wife and a 16-year-old son. But during a holiday in Majorca, Frederik falls from a wall, and during a brain scan, it’s discovered he has a meningioma exerting pressure on his brain. Perhaps this is to blame for his increasingly erratic behavior? Perhaps, though his behavior has by now started to verge on criminal activity; it turns out he’s been embezzling money from the school and playing commodities markets with sanguine expectations of extraordinarily high rates of return. Jungersen has done impressive research on brain science and makes it clear that the symptoms Frederik experiences—including lack of empathy for others, childish behavior, emotional cruelty, sexual outspokenness and (supreme irony) unawareness that he’s even ill—threaten to tear apart the delicate fabric of his family life. At a support group for families with loved ones who have experienced brain injuries, Mia meets Bernard, a lawyer whose wife was injured in a car accident. Mia needs Bernard both sexually and in his legal capacity, for she wants to hire him to represent Frederik in a lawsuit being brought against him by Laust Saxtorph, the now-bankrupted director of Frederik’s school. When Mia and Bernard begin their affair, Mia starts to experience some of the secretiveness and indiscretion that used to characterize her life with Frederik, and even Bernard has some secrets of his own.
Jungersen writes brilliantly and raises knotty questions of identity—who, after all, is the “real” Frederik?—and of moral accountability, no matter who we are and what we’ve experienced.Pub Date: Jan. 7, 2014
ISBN: 978-0-385-53725-4
Page Count: 464
Publisher: Nan A. Talese
Review Posted Online: Dec. 6, 2013
Kirkus Reviews Issue: Dec. 15, 2013
BOOK REVIEW
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
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
© 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.
