Stories, on balance, that appear above all to love the sound of their own voices.
Twelve debut stories from Whitbread winner Atkinson (Behind the Scenes at the Museum, 1996) are unparalleled in deftness but in their depth less compelling.
Characters from one tale are sometimes referred to in another—as with Meredith Zane, whose aunt Nanci Zane married a Briton (in the 1970s) and then died during dentistry (“The Bodies Vest”), causing her own dentist father, back in California, to shoot himself. Earlier in the volume but later in time, Meredith (“Transparent Fiction”) is 25 and living with a wannabe scriptwriter in London. When Meredith twitches the cape from the shoulders of a famous producer’s wife, the aging lady turns to dust. Ovid-like metamorphoses appeal to Atkinson, who prefaces the stories with Latin passages, even Greek, allusions that tend to make the stories seem the more minor. A prolixity of cuteness and verve can give energy but can also cloy (“Meredith, Baxter, and Wilson—which sounded like a firm of lawyers—were all girls, as were the endlessly confusing Taylor, Tyler, Skyler, and Sky”). The pieces are nothing, though, if not capable in their details, as in “Tunnel of Fish,” about a young deaf boy’s fantasies, or “Unseen Translation,” about a likably strident nanny who seeks to rescue her charges from the “ordinary.” More familiar still is “Temporal Anomaly,” about an Edinburgh woman who hovers, watching her family’s reactions after she “dies” in a car wreck. In “Wedding Favors,” a divorced mother is alone after her last child leaves for college, while in “The Cat Lover,” a woman’s pet grows huge and she gets pregnant by him. Opening and closing the volume are twin stories, the first about futuristic threats to the world (“Charlene and Trudi Go Shopping”), the other (“Pleasureland”) about its end. In both, the characters rattle off lists of things to do, eat, and buy in another Ovid-like device that, here, just seems minimizing and affected.
Stories, on balance, that appear above all to love the sound of their own voices.Pub Date: Dec. 3, 2003
ISBN: 0-316-61430-0
Page Count: 256
Publisher: Little, Brown
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Sept. 15, 2003
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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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