Fernández is emerging as a major voice in South American letters, and this slender but rich story shows why.
Chilean actor and novelist Fernández continues her project of lifting the veil on the dark years of Augusto Pinochet’s military dictatorship.
As in Fernández’s previous novel, Space Invaders (2019)—note the two pop-culture titles—the story moves about in great leaps from decade to decade. It opens in 1984, when a man enters the Santiago office of a magazine and asks to speak to the author of a story that centers on him. “Andrés Antonio Valenzuela Morales, Soldier First Class, ID #39432, district of La Ligua,” wants to speak about what he has done on behalf of the regime, “about making people disappear.” He has a dossier running page after page, giving names, recounting how they were tortured, his victims now denizens of “some parallel reality” that suggests to the narrator an extended episode of the old creature-feature series The Twilight Zone. A quarter-century passes, and now the narrator encounters the killer again, this time as she is writing a television series about the era, one of the characters based on him. He recounts watching the protest marches by the mothers of los desaparecidos, who hoist poster-sized photographs of their loved ones: “They don’t realize that I know where that person is,” he says, “I know what happened to him.” Enumerating the victims is a process that absorbs both characters, moving between past and present, when the state-sponsored murderer escapes to rural France: “Will he be able to change the shadows of things to come? He wants to believe he will, that he has the right to a change of skin.” Fernández’s story has shades of the cat-and-mouse mystery, her touchstones emblems of mass global culture: episodes of The Twilight Zone, to be sure, but also old movies and, of course, the video games of the era: “On the same television screen where we used to play Space Invaders, we now saw the national police agents responsible for the murders.”
Fernández is emerging as a major voice in South American letters, and this slender but rich story shows why.Pub Date: March 16, 2021
ISBN: 978-1-64445-047-5
Page Count: 192
Publisher: Graywolf
Review Posted Online: Nov. 26, 2020
Kirkus Reviews Issue: Dec. 15, 2020
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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
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