Spare, matter-of-fact and masterfully controlled, this is a novel as noteworthy for what it leaves out—politics, purpose for...
Four young soldiers find comfort and a sense of belonging with each other that at least one of them has never experienced before.
French novelist Mingarelli (A Meal in Winter, 2016, etc.) focuses tightly on a winter in 1919 when the Red Army is encamped near a forest while awaiting the spring that will surely bring the battalion’s movement and the resumption of violence within the Russian civil war. The first-person narrator is named Benia, though the reader doesn’t learn this until almost a third of the way through the novel, within the dialogue he recounts. The first chapter shows how quickly, coincidentally, and almost accidentally he bonded first with another young soldier, then another, and then with a fourth they recruited. “I thought to myself: That’s it, I’m not alone in the world any more,” he says. “And I was right.” The reader learns little about Benia, perhaps because Benia doesn’t think there is much worth knowing. He's an orphan who had little sense of connection or purpose before joining the army and being sent to the Romanian front. There, he meets Pavel, another young soldier, who changes Benia's life when he says, “Let’s stay together.” The narrator intuits that Pavel is smarter, more experienced, and more of a leader, a contrast underlined when Pavel subsequently befriends the larger and more impulsive Kyabine, who will do the heavy lifting for the group, and the more compassionate and intuitive Sifra, who says little and reveals less of himself than the others. Though the winter is harsh, its interlude is almost idyllic, at least in terms of what the four men know is coming—the endless march toward violence. They find a pond that they keep secret from the others. They pass around a watch that has a woman’s face, which they consider lucky. They play dice games, gamble with cigarettes, share meager rations. They are joined by another, whose intrusion changes the dynamic. And then they are ordered to move, and Pavel insists, “Where we’re going there won’t be any good moments, because all that is behind us now.” And he is right, as the foursome’s bond cannot survive.
Spare, matter-of-fact and masterfully controlled, this is a novel as noteworthy for what it leaves out—politics, purpose for fighting, anything that reflects on the world at large—as for what it includes.Pub Date: Oct. 9, 2018
ISBN: 978-1-62097-440-7
Page Count: 160
Publisher: The New Press
Review Posted Online: July 16, 2018
Kirkus Reviews Issue: Aug. 1, 2018
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
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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