PRINCE OF THE CLOUDS

Name: PRINCE OF THE CLOUDS
Author: Gianni Riotta
ISBN: 0-374-23725-5

by Gianni Riotta & translated by Stephen Sartarelli ‧ RELEASE DATE: May 31, 2000

While marching to the beat of a different drummer, Riotta’s love story charms and warms the heart, even if the Colonel is...

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An intriguing romance—and Italian journalist Riotta’s first to appear in English translation.

Amid the tumult of post–WWII Sicily, an uncommon alliance is forged between a pair of young lovers and a retired colonel whose encyclopedic knowledge of battle strategy has given him a unique take on life. Colonel Terzo, whose command of military tactics and motivation is so sweeping that he knows before the war starts that the Axis will lose, spends his war years following the campaigns across Europe and Africa from a safe distance, without ever being allowed to go into combat. After the war he marries a beautiful White Russian princess, Emma, suspected of espionage, and settles with her in Palermo to write his long-awaited masterwork, the Manual for Strategic Living, in which he will bring all of the strategies tested in battle throughout history to bear on the struggles of daily life. Before long he's distracted from his work by Emma's further intrigues, this time in the service of love, as she joins together under their roof the commoner Salvatore, ardent poet and Communist, and the free-spirited Duchess's daughter Fiore. Terzo is to instruct young Salvatore in military history, while she takes Fiore under wing as a companion. Terzo will refuse the woman he loves nothing, most especially since they've just learned that she’s dying rapidly from cancer. But this particular strategy for romantic engagement leads to an all-out war, as the Colonel, Emma, and the lovers are caught up in a peasant rebellion and Terzo has to use all his tactical know-how to save them, and the peasants, from annihilation–a task at which he only partially succeeds.

While marching to the beat of a different drummer, Riotta’s love story charms and warms the heart, even if the Colonel is stuffed too full of battle lore at times.

Pub Date: May 31, 2000

ISBN: 0-374-23725-5

Page Count: 272

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 15, 2000

Categories:

LITERARY FICTION

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THE HANDMAID'S TALE

by Margaret Atwood ‧ RELEASE DATE: Feb. 17, 1985

Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

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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

Categories:

LITERARY FICTION

- BOOK REVIEW
FOURTEEN DAYS
edited by Margaret Atwood & Douglas Preston

- BOOK REVIEW
OLD BABES IN THE WOOD
by Margaret Atwood

- BOOK REVIEW
BURNING QUESTIONS
by Margaret Atwood

- PERSPECTIVES
Appreciations: Margaret Atwood’s Novel The Handmaid’s Tale Turns 30

- SEEN & HEARD
Nan A. Talese, Legendary Publisher, Is Retiring

- BOOK TO SCREEN
Teasers Drop for ‘Shadow and Bone,’ Other Films

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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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.