Trademark Modiano, brittle and elegant, with more questions than answers.
Brooding, philosophically rich novel by Modiano (Missing Person, 2014, etc.), recipient of the 2014 Nobel Prize in literature.
Jean B. is a filmmaker—a documentary filmmaker, more precisely, and one constantly on the go from continent to continent and culture to culture: “I was just back from Oceania,” he recalls, “and I was to leave for Rio de Janeiro a few days later.” This tour finds him on a short layover in Milan while traveling to Paris by train—and everyone knows that you don’t go to Milan in August, when everyone is gone or hiding from the heat. Apparently the heat is too much, or something is too much in any event, for another traveler, Ingrid Theysen, who, Jean learns, killed herself a couple of days earlier after drinking just the same drink he has now ordered. It’s not the drink’s fault but instead the weight of the whole oppressive 20th century: the war, the occupation, the whole bit. The thing is, Jean knew Ingrid two decades earlier, when she’d brightly said, “We’ll pretend to be dead.” Why should Ingrid want to do so? What secret did she hold—and how about Rigaud, the fellow whom she’d run off with during the war, leaving it to her poor parents to place advertisements begging for information about their missing daughter? Modiano is in high mystery mode as Jean sets out to retrace Ingrid’s steps past “groups of German soldiers and French policemen,” hugging the walls while trying to avoid being seen. And why? Well, there’s the nub, and Modiano takes his time solving the puzzle and then not filling in every blank—not least the one that might tell us why Jean should be interested in the first place. Along the way, he coolly evokes the black-and-white grittiness of France in the early 1960s, when so many were trying to forget the events of 20 years before, and leaves much of the rest to the reader’s imagination.
Trademark Modiano, brittle and elegant, with more questions than answers.Pub Date: Oct. 29, 2014
ISBN: 978-1-56792-538-8
Page Count: 128
Publisher: Verba Mundi
Review Posted Online: April 21, 2015
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
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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