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MIDNIGHT'S CHILDREN

A NOVEL

When Indian novelist Rushdie arrived with Grimus in 1979 we called him "an imagination to watch." And he'll be watched indeed once this bravura fiction starts circulating—a picaresque entertainment that's clearly inspired by close readings of the modern South American fabulists and, above all, Sterne's Tristram Shandy. Rushdie's own Tristram is named Saleem Sinai—and he is born at the stroke of midnight, August 15, 1947, making him exactly contemporary with the life of India-as-a-nation. In fact, Saleem and 580 other "midnight children" born at that moment grow up to find themselves equipped with powers of telepathic communication, foresight, and heightened individual sensoria: Saleem's particular gift is a "cucumber" of a nose with which he goes through life literally smelling change. The Sinai family, originally Kashmiri Moslems, migrate to Bombay, living in ex-colonial digs. And a switch at birth with a neighbor's baby seeds narrative trouble that flowers at different times later on in the book: opera buffa complications all the way. Saleem seems to be in the middle of all cataclysmic Indian events, too. He's present during language riots and a dinner-party coup in Pakistan (where his mother fled after a marital spat involving the revealed baby-switch). Because of his olfactory talent, he becomes a "man-dog" tracker for a Pakistani military unit during the debacle in Bangladesh. And, back in Bombay, Saleem is clapped into jail with the other "midnight children" by "the Widow"—Indira Gandhi—during the dictatorial Emergency. Rushdie swoops, all colors unfurled, all stops out, through and around his synchronic fable with great gusto and sentimental fizz. And though such a rodomontade would be shameless if made out of more familiar material, the sub-continental excessiveness (and the fascinating history lesson which is incidentally built in) keeps us loading and firing right along. Tour de force, in other words—and so, of course, a little exhausting; but, unlike other fantastical picaresques, this one is truly worth the effort. A big striped balloon of a book, often dizzying with talent.

Pub Date: March 1, 1981

ISBN: 0812976533

Page Count: 564

Publisher: Knopf

Review Posted Online: Oct. 4, 2011

Kirkus Reviews Issue: March 1, 1981

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THE TESTAMENTS

Suspenseful, full of incident, and not obviously necessary.

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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

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THINGS FALL APART

This book sings with the terrible silence of dead civilizations in which once there was valor.

Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.

Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.

This book sings with the terrible silence of dead civilizations in which once there was valor.

Pub Date: Jan. 23, 1958

ISBN: 0385474547

Page Count: 207

Publisher: McDowell, Obolensky

Review Posted Online: April 23, 2013

Kirkus Reviews Issue: Jan. 1, 1958

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