Roald Dahl's first full-length adult fiction is immaculately phrased, crisply turned, and terribly disappointing. What one anticipates above all with Dahl (Kiss Kiss) is an inventive notion, and the farce notion here is one that's been diddled around with in dozens of books and stories already: collecting sperm from famous men and freezing it for future sale re artificial insemination. DaM's version is the 1938 diary of Oswald Hendryks Cornelius—his memories at age 43 of his escapades some 25 years earlier. English youth Oswald makes his first fortune at 17 by journeying to the Sudan, purchasing a chunk of the world's most potent aphrodisiac (ground-up Blister Beetles), and selling it in pill form to the wealthiest men (and then women too) of Paris. But Oswald returns to England determined to strike it even richer. Enter A. R. Woresley, Oswald's chemistry tutor at Cambridge—who's doing research in sperm preservation, extracting semen from prize bulls—and, after Oswald has helped out with the sticky mechanics of bull-semen-snatching, he naturally gets the idea to transfer the technique to humans. Needed (once reluctant Woresley agrees to cooperate): a resourceful female confederate. They find such a woman in Yasmin Howcomely ("She was absolutely soaked in sex"), and soon the trio has its game plan: Yasmin will slip each famous man the super-aphrodisiac, greet the expected response with a condom, and collect an authenticating signature before hurrying off with the "stuff. . . in the bag," ready for Woresley's freeze-dry process. Among Yasmin's conquests: dear old Renoir; randy young Picasso (too fast a mover, alas, to pause for prophylaxis); homosexual Proust (Yasmin dresses as a boy and simulates buggery—"I could have shoved it in a jar of pickled onions and he wouldn't have known the difference"); D. H. Lawrence (sterile); Puccini ("stupendous"); Einstein ("all brains and no body"); and G. B. Shaw (a 63-year-old virgin). Along the way, there's elaborate sexual slapstick with just the right balance of elegance and bawdiness—but somehow it's never really funny, and the single basic joke is repeated with variations that don't really develop or progress. Mildly entertaining ribaldry, then, dotted with famous men in heat—a classy enough Rabelaisian diversion, but not the grabber of a novel that Dahl's fans might have hoped for.
Pub Date: April 11, 1980
ISBN: 0140055770
Page Count: 212
Publisher: Knopf
Review Posted Online: Oct. 16, 2011
Kirkus Reviews Issue: April 1, 1980
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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