Dazzling, nonetheless. Look for The Impressionist among next year’s Booker prize nominees.
This already much-touted first novel, a major international commercial success, is its Anglo-Kashmiri author’s refreshingly original variation on the traditional theme of a young man’s education.
The protagonist is Indian-born Pran Nath Razdan, ostensibly the son of a prosperous Hindu lawyer, but in fact the biracial product of his late (“mad”) mother’s single illicit encounter with an English adventurer (also deceased). When the truth is learned, 15-year-old Pran is exiled (in 1918) from “his father’s” lavish home in Agra (near the Taj Mahal), wanders the city’s meaner streets, then is abducted and sold as a “hijra” (or “boy-girl” prostitute) to an epicurean Nawab. Attracting the attention of pedophilic Major Privett-Clampe, Pran (who easily “passes” for white) survives by his wits and his astonishing good looks, moving on to Bombay, where he’s accepted as “Robert” by Scottish missionary Andrew Macfarlane and his wife Elspeth (grieving the deaths of two soldier sons in battle) – and as “Pretty Bobby” by the Bombay whores who employ him as an errand boy. As Britain’s control of India becomes increasingly shaky, “Bobby” (who finds he’s repeatedly “free to reinvent himself”) appropriates the identity of a drunken young Englishman who’s the victim of mob violence, and travels to London as “Jonathan Bridgeman.” From there he progresses to private school and university (Oxford), a frustrated affair with would-be demimondaine Astarte Chapel, and, as assistant to her father (a famous “Africanist” anthropologist), goes to West Africa to study the ecology of the Fotse tribe, where Pran/Bobby/Jonathan assumes yet another (transfiguring) identity. Echoes of Waugh, Kipling, Bowles, and Rushdie (and perhaps a minor debt to Michael Pye’s Taking Lives) aside, this is a very considerable achievement: a romantic-satiric saga enlivened by Kunzru’s sophisticated prose and urbane omniscient narrative voice. Its only significant flaws are a rather rapid march through some key episodes and some heavy-handed satire on colonialism at its most arrogantly obtuse.
Dazzling, nonetheless. Look for The Impressionist among next year’s Booker prize nominees.Pub Date: April 1, 2002
ISBN: 0-525-94642-X
Page Count: 416
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2002
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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