Not as well-developed as the later books, and mostly for completists. Still, it’s interesting to see hints of the masterly...
Two linked early novels from the prolific Murakami (Colorless Tsukuru Tazaki and His Years of Pilgrimage, 2014, etc.).
“I learned a lot of what I know about writing from Derek Hartfield,” writes Murakami’s alter ego, who has already warned us that “writing honestly is very difficult.” Hartfield is a Murakami invention, the image of an utterly obscure writer jumping off the Empire State Building carrying a picture of Adolf Hitler and an umbrella both oddly unsettling and portentous. Though these stories—two of the so-called Rat Trilogy—are more than 40 years old, marking the very beginning of Murakami’s career, they are full of trademark turns. One is the iron spring that lies hidden in the tatami-covered floor of even the most tranquil room: the narrator lies in bed, smoking, looking at the beautiful young woman lying next to him, and what grabs his attention, unpalatably and uncharitably, is the fact that her beach-won suntan has faded and “the white patches left by her swimsuit looked almost rotten.” Another is the untrustworthiness of the narrator—and everyone else, for that matter. Elsewhere, a naked girl pads to the kitchen to make a sandwich, returning with her “cheeks stuffed with bread” just in time to catch him in a lie—but just one lie—while, still elsewhere, a girl stirs her drink with one of her nine fingers and listens to the narrator expatiate on why it is that people die, bullshitting with gusto even as he describes dissecting a cow. And if the narrator is a Murakami alter ego, is the Rat the alter ego once removed? It’s a point to ponder. There’s a Beatles record on the turntable at all times, of course, offering the possibility of peace and love and unity, but then there’s that iron trap again….
Not as well-developed as the later books, and mostly for completists. Still, it’s interesting to see hints of the masterly novels to come in these slender, pessimistic tales.Pub Date: Aug. 5, 2015
ISBN: 978-0-385-35212-3
Page Count: 256
Publisher: Knopf
Review Posted Online: June 2, 2015
Kirkus Reviews Issue: June 15, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
Rather than settle for a coming-of-age or travails-of-immigrants story, Hosseini has folded them both into this searing...
Here’s a real find: a striking debut from an Afghan now living in the US. His passionate story of betrayal and redemption is framed by Afghanistan’s tragic recent past.
Moving back and forth between Afghanistan and California, and spanning almost 40 years, the story begins in Afghanistan in the tranquil 1960s. Our protagonist Amir is a child in Kabul. The most important people in his life are Baba and Hassan. Father Baba is a wealthy Pashtun merchant, a larger-than-life figure, fretting over his bookish weakling of a son (the mother died giving birth); Hassan is his sweet-natured playmate, son of their servant Ali and a Hazara. Pashtuns have always dominated and ridiculed Hazaras, so Amir can’t help teasing Hassan, even though the Hazara staunchly defends him against neighborhood bullies like the “sociopath” Assef. The day, in 1975, when 12-year-old Amir wins the annual kite-fighting tournament is the best and worst of his young life. He bonds with Baba at last but deserts Hassan when the latter is raped by Assef. And it gets worse. With the still-loyal Hassan a constant reminder of his guilt, Amir makes life impossible for him and Ali, ultimately forcing them to leave town. Fast forward to the Russian occupation, flight to America, life in the Afghan exile community in the Bay Area. Amir becomes a writer and marries a beautiful Afghan; Baba dies of cancer. Then, in 2001, the past comes roaring back. Rahim, Baba’s old business partner who knows all about Amir’s transgressions, calls from Pakistan. Hassan has been executed by the Taliban; his son, Sohrab, must be rescued. Will Amir wipe the slate clean? So he returns to the hell of Taliban-ruled Afghanistan and reclaims Sohrab from a Taliban leader (none other than Assef) after a terrifying showdown. Amir brings the traumatized child back to California and a bittersweet ending.
Rather than settle for a coming-of-age or travails-of-immigrants story, Hosseini has folded them both into this searing spectacle of hard-won personal salvation. All this, and a rich slice of Afghan culture too: irresistible.Pub Date: June 2, 2003
ISBN: 1-57322-245-3
Page Count: 368
Publisher: Riverhead
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2003
SEEN & HEARD
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