Although centered on a violent murder/suicide that takes place early on, this is essentially a meditative, multi-voiced examination of the guilts, prides and lonely accommodations to social class and family myth-making—matters also addressed in A Mother and Two Daughters (1982)—among members of an unhappy North Carolina family immobilized under "layer upon layer of debilitating resentments and intrigues." "It's like being inside a drama in which good influences and bad influences are being played out. . .it's impossible. . .to affix blame," comments urbane Felix, musing on the family of his lover, 40-ish Clare. What caused 28-year-old Theo Quick—a failure in both career and marriage, and father of young Jason—to shoot to death his girlfriend while her child watched, and then kill himself?. Each member of the grieving Quick family, Clare's childhood friend Julia, and Theo's divorced wife, the "hillbilly" Snow, bear their bewildered grief into the dark comers of their recent histories. Theo's father, Ralph, a selfmade man now bankrupt and disillusioned, from a "middling" background, too late tries to redeem the son he'd locked out. Ralph's wife Lily, self-elevated from husband and children, realizes—also too late—that it was Theo, rather than son Rare, she'd "trusted most to love her." Rare, in therapy, painfully calls to mind Theo's "flirting with the idea of his self-destruction." Meanwhile, plain-spoken Snow, who will win a custody battle for Jason, and who shares with Lily (they despise one another) a "secretive separateness" from family, sees a Theo plain, stripped of the caul of the family—yet aches for the essential good man who was buried-in-life. Clare (successful novelist and Lily's daughter by a first marriage), Julia, and Felix attempt to weigh the influences of class and origins on the Southern family, and shade in the portrait of Theo that is never complete—an echo of Theo's criticism of Clare's work: she should write something "that can never be wrapped up." A "slow march" (Clare's expression) of meditations in voices that sound somewhat similar (except for Snow's tangier diction), brightened by Godwin's acute sense of people paralyzed by circumstances—this is thoughtful chipping away at one family's crystalline certainties and disparate dreams.
Pub Date: Oct. 2, 1987
ISBN: 0380729873
Page Count: 548
Publisher: Morrow/HarperCollins
Review Posted Online: Sept. 24, 2011
Kirkus Reviews Issue: Sept. 15, 1987
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
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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