by Samanta Schweblin ; translated by Megan McDowell ‧ RELEASE DATE: Jan. 8, 2019
An assemblage of both gauzy and substantial stories from an unquestionably imaginative author.
A dark and dreamy collection by Schweblin (Fever Dream, 2017), like an eerie walk through a perpetual twilight of uneasy—and often absurdly funny—states of consciousness and being.
In these 20 swiftly running stories, unimpeachably translated from Spanish by McDowell, Schweblin explores the slippery terrain of the mind's deeper recesses, where anxieties over the limits, or lack thereof, of the possible multiply and mutate. The collection’s trenchant first story, “Headlights,” begins with a bride realizing she’s been abandoned on the side of a highway by her new husband after stopping for a bathroom break, ostensibly because she took too long and “waiting wears [men] out.” Here she encounters a field full of jilted, wailing, and vengeful fellow brides in a witty examination of gender allegiances and competition, and dependency and tolerance in romantic relationships. “Preserves” introduces a pregnant woman and her husband who are both unprepared for the rigors of parenthood; they take drastic measures to eliminate the pregnancy but somehow preserve their would-be daughter for when they're ready. In the title story, the limitlessness and obligations of parental love are put to the test by a teenage daughter's curious appetites. And in "Toward a Happy Civilization," in a clever dilation of the idea of never being content where one is, an office worker from the capital plots his escape from the countryside, where he's being held captive by a train station attendant and his wife, who cooks wholesome meals and assigns daily tasks of vigorous outdoor labor to the man and their other office-worker detainees. Though some stories are more desultory than others and may not entirely satisfy, at her best, Schweblin builds dense and uncanny worlds, probing the psychology of human relationships and the ways we perceive existence and interpret culture, with dark humor and sharp teeth.
An assemblage of both gauzy and substantial stories from an unquestionably imaginative author.Pub Date: Jan. 8, 2019
ISBN: 978-0-399-18462-8
Page Count: 240
Publisher: Riverhead
Review Posted Online: Oct. 1, 2018
Kirkus Reviews Issue: Oct. 15, 2018
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by Samanta Schweblin ; translated by Megan McDowell
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by Samanta Schweblin ; translated by Megan McDowell
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by Samanta Schweblin translated by Megan McDowell
by Margaret Atwood ‧ RELEASE DATE: Sept. 10, 2019
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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edited by Margaret Atwood & Douglas Preston
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
by Chinua Achebe ‧ RELEASE DATE: Jan. 23, 1958
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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