A sort of Great Gatsby for our time: everyone is implicated, no one is innocent, and no one comes out unscathed, no matter...
Rushdie (Two Years Eight Months and Twenty-Eight Nights, 2015, etc.) returns with a topical, razor-sharp portrait of life among the very rich, who are, of course, very different from the rest of us.
Where Tom Wolfe’s Bonfire of the Vanities sent up the go-go, me-me Reagan/Bush era, Rushdie’s latest novel captures the existential uncertainties of the anxious Obama years. Indeed, its opening sentence evokes the image of the newly inaugurated president “as he walked hand in hand with his exceptional wife among the cheering crowds,” even as our narrator, shellshocked like everyone else in that time of plunging markets and ballooning mortgages, worried that assassination was the inevitable outcome. Against this backdrop arrives a mysterious immigrant who has taken for himself what he imagines to be a suitably aspirational name: Nero Golden. So beguiling is Golden that, tucked away in a secret palace in a New York affordable only to the very wealthy, he proves an instant lure for our narrator, a filmmaker in search of a subject. Each member of the Golden household harbors secrets, sexual and financial and criminal, but the plot thickens considerably when a Russian arriviste, "Vasilisa the Fair," inserts herself into the Goldens' world, ticking down a checklist of all the pleasures she can provide for Nero given the proper options package: “You see the categories are ten, fifteen, twenty,” she tells Golden of her monthly allowance needs. “I recommend generosity.” It seems clear we are not meant to think of Obama but of his successor, whose election closes the book and who gives us Rushdie’s decidedly unfunny, decidedly unironic condemnation of an “America torn in half, its defining myth of city-on-a-hill exceptionalism lying trampled in the gutters of bigotry and racial and male supremacism, Americans’ masks ripped off to reveal the Joker faces beneath.”
A sort of Great Gatsby for our time: everyone is implicated, no one is innocent, and no one comes out unscathed, no matter how well padded with cash.Pub Date: Sept. 5, 2017
ISBN: 978-0-399-59280-5
Page Count: 400
Publisher: Random House
Review Posted Online: June 19, 2017
Kirkus Reviews Issue: July 1, 2017
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
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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