Keillor's parodies, satires, and whimsies—which have been appearing in The New Yorker since 1969—rarely provide big laughs or Perelmanic dazzle; but they do have an affectionate, easygoing, back-home quality that makes for a nice change from the clenched-up sparring of most New York-based humorists. (Keillor is Minnesota all the way.) Least distinctive of the 30 pieces collected here are obvious send-ups of trends in jargon and lifestyle: there are familiar, somewhat dated digs at alternative weddings (Sam and Judy "chose to emphasize their mutual commitment to air and water quality, exchanging vows while chained to each other and to the plant gate of a major industrial polluter"); at the craze for communal/natural goods and services ("all of our meat comes from animals who were unable to care for themselves any longer"); at the Foxfire enshrinement of plain-folks (numbing oral histories about making snowmen and customizing cars); and at psychobabble—applied to baseball. Elsewhere, however, Keillor develops a more satisfying double-joke, as in "Shy Rights: Why Not Pretty Soon?"—which lampoons gay-liberation rhetoric while maintaining the ever-apologetic tone of the minority in question ("Discrimination against the shy is our country's No. 1 disgrace in my own personal opinion"). And there are pieces which derive welcome texture from a literary-parody element—like the overlong but endearing "Jack Schmidt, Arts Administrator" (Ã la Sam Spade). But the special stuff here, if not the funniest, is Keillor's just-slightly-off-kilter Americana: folksy reminiscences which may veer into farce now and then but at the same time demand to have their warm, real centers taken seriously. "My North Dakota Railroad Days," for instance, generates train nostalgia while simultaneously skewering it. And best of all are three sweetly addled evocations of early/small-time radio. (Keillor is a longtime broadcaster, host of National Public Radio's "Prairie Home Companion.") Mostly minor-league humor, then, but with enough one-of-a-kind touches (including a few likably autobiographical snippets) to rise just a little above the crowd.
Pub Date: Jan. 12, 1981
ISBN: 0140131825
Page Count: 294
Publisher: Atheneum
Review Posted Online: April 4, 2012
Kirkus Reviews Issue: Jan. 1, 1981
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 story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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