A wrenching exploration of the consequences of survival.
In the aftermath of an environmental apocalypse, a family must make a terrible decision, the consequences of which will reverberate through the rest of their lives.
In French author Collette’s (Nothing but Dust, 2018) second book translated into English, half the world has been erased. For as far as 11-year-old Louie can see, the once-familiar valleys, towns, and even the closest neighbors have been inundated with water, the result of an apocalyptic tidal wave that has left him, his parents, and his eight siblings stranded on an island that used to be merely the top of a hill. At first the family’s survival seems miraculous, but the waters are still rising, and, as the land they perch on shrinks and resources become scarce, the parents know they must seek higher ground or risk drowning. The father estimates that with 12 days of hard rowing they can reach an area likely to still be above water, but, with only one boat, there will not be enough room to carry all the children and all the supplies they will need to survive the dangerous passage. The parents must make the devastating choice of whom to leave behind and settle on the three middle children, Louie, Perrine, and Noah, intending to return for them as soon as they reach land. At this point the narrative splits. On the island, the three children—ages 11 to 8—struggle with the implications of their abandonment as their supplies dwindle and the water continues to rise. On the boat, the siblings and the parents grapple with the consequences of their new identities as, alternatively, the ones who were chosen and the ones who were forced to choose. In tense, tightly controlled, and genuinely devastating prose, Collette explores the existential dilemma of pitting the good of the many against the good of the few with both nuance and great linguistic beauty. In a time when families across the globe are being forced to make very similar choices due to war, forced migration, and the depredations of climate change, Collette’s evocation of the human reality of this philosophical logic puzzle is a timely and fiercely excoriating narrative.
A wrenching exploration of the consequences of survival.Pub Date: Jan. 14, 2020
ISBN: 978-1-60945-567-5
Page Count: 304
Publisher: Europa Editions
Review Posted Online: Nov. 24, 2019
Kirkus Reviews Issue: Dec. 15, 2019
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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