The most philosophical of Calvino's works, a set of semi-comic meditations upon infinity undertaken by a nobody/Everyman named Mr. Palomar—who, as his name suggests, would like to be the clearest, adroitest, purest non-participatory observer. . .yet, since he's a man, not a telescope, can't quite pull it off. He's reminiscent of Jacques Tati's M. Hulot: at odds or at war or in love with the big in small, the small in big, the whole old figure/ground confusion. Some of the things he observes: how the "sword" of the sun's reflection on the ocean always stops exactly at a swimmer's eye; the possible meaning of birdcalls (humorously contrasted with Mr. and Mrs. Palomar's old-married-pair quasi-conversations); how turtles mate; the way birds must see the world below as all surface; the vagaries of the head overruling the eye (Palomar, on a topless beach, tries not to observe the naked breasts—then decides, on philosophical grounds, to observe them—to predictably outraged results). Each short non-adventure is another illustration of the beauty of the subjective, that which we nonetheless try to destroy or transcend. Calvino, maybe the subtlest of all living writers, picks up along the way various intellectual fashions (Marxism, deconstructionism) only to put them down again gently askew: a Foucault-ian visit to a butcher shop is a standout. Even if these satiric overtones aren't picked up, though, Palomar's humanity is always the chief hire—his and Calvino's splendid prose (expertly rendered by the redoubtable William Weaver). Here's the moon seen in the afternoon sky: ". . .like a transparent wafer, or a half-dissolved pastille. . .and you cannot be sure whether it is from its taut, uninterrupted surface that this round and whitish shape is being detached, its consistancy only a bit more solid than the clouds', or whether it is a corrosion of the basic tissue, a rift in the dome, a crevice that opens onto the void behind." Luminous, knowing, lovely literature.
Pub Date: Sept. 27, 1985
ISBN: 0156627809
Page Count: 148
Publisher: Harcourt Brace Jovanovich
Review Posted Online: Sept. 19, 2011
Kirkus Reviews Issue: Aug. 15, 1985
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
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
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