Karon's deft interweaving of past and present infuses the Mitford saga with new energy.
Far from Mitford and his beloved wife Cynthia, Father Tim Kavanagh enters unfamiliar emotional territory in the town of his birth.
When he receives a letter postmarked Holly Springs, Miss., that contains a cryptic two-word message written in a precise, old-fashioned hand, Father Tim decides to answer its call and return to his birthplace for the first time in 38 years. On the long drive, he faces unanswered questions and half-forgotten memories: What happened to his boyhood chum and blood brother, Tommy? What caused his father's melancholy that bordered on cruelty? What happened to Peggy, the adored black caregiver who disappeared when he was 11? Who is trying to contact him, and why? As Father Tim awaits the letter writer, he is showered by blessings: He finds that his hometown has been beautifully restored, and he makes peace with an old flame. When the summons comes, it brings both joy and betrayal. He is reunited with his beloved Peggy, only to learn a terrible secret: She was carrying his father's child when she disappeared. When Peggy reveals that Henry, her son and Tim's half-brother, has leukemia and can only survive with a transfusion from a compatible sibling, Tim has to struggle to reach the decision he knows is right. In this setting away from home, we see Father Tim in a new light as he wrestles with his past and explores the origins of his religious convictions. The saga veers into magical theater as Karon (Cynthia Coppersmith's Violet Comes to Stay, 2006, etc.) ties up every loose end in Tim's past. But readers who miss Mitford's colorful eccentrics will be satisfied by Holly Springs's ample supply of quirky characters.
Karon's deft interweaving of past and present infuses the Mitford saga with new energy.Pub Date: Oct. 30, 2007
ISBN: 978-0-670-01838-3
Page Count: 400
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2007
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
These letters from some important executive Down Below, to one of the junior devils here on earth, whose job is to corrupt mortals, are witty and written in a breezy style seldom found in religious literature. The author quotes Luther, who said: "The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn." This the author does most successfully, for by presenting some of our modern and not-so-modern beliefs as emanating from the devil's headquarters, he succeeds in making his reader feel like an ass for ever having believed in such ideas. This kind of presentation gives the author a tremendous advantage over the reader, however, for the more timid reader may feel a sense of guilt after putting down this book. It is a clever book, and for the clever reader, rather than the too-earnest soul.
Pub Date: Jan. 1, 1942
ISBN: 0060652934
Page Count: 53
Publisher: Macmillan
Review Posted Online: Oct. 17, 2011
Kirkus Reviews Issue: June 15, 1943
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