In this innovative novel, Chejfec is gesturing toward the grand European traditions on his own terms.
A novel of lonesomeness and recollection that takes the construction of characters as its subject.
The question "Who's responsible for this?" often takes on a tone of indignation, but in Argentine writer Chejfec's latest novel it's not an admonishment so much as a practical consideration. As the book opens, the narrator informs readers that he is going to tell us a story—"something that happened one night, years ago, and the events of the morning and afternoon that followed"—and yet the novel is filled with several stories, large and small, as well as multiple nights and evenings. Just as the missives described by the narrator from his friend Felix grow from postcards to full-blown letters, so too do the accumulated moments grow larger and more significant as the novel moves from Buenos Aires to Barcelona to Moscow, where Felix checks in at the Hotel Salgado. From there Felix's story intersects with that of Masha, the hotel's owner. We're let in on her innermost thoughts and feelings, as we are with Felix’s. She's as persistent as Felix is transient, going about her day wrapped in shapeless bundles and gliding across the floors in shearling boots as she completes her tasks. As their stories begin to intertwine and pieces of their stories begin to resemble one another (a woman whom Felix met at lodgings prior to the Hotel Salgado complained to a clerk about losing money in her pants; Masha, while cleaning a room she is staying in, finds a stack of money in the closet), readers are uneasily reminded of the fact that, in the end, neither Felix nor Masha is telling the story at all. They barely say a word—it is the narrator adorning simple correspondence from a friend with drama and stemwinding diction. The effect it conjures gets at the heart of narration in general: What is the responsibility of the storyteller to adhere to the facts as told? Is it possible to ever completely know what happened? If the story is vivid and engaging—as this book is—does it matter?
In this innovative novel, Chejfec is gesturing toward the grand European traditions on his own terms.Pub Date: Sept. 24, 2019
ISBN: 978-1-948830-03-4
Page Count: 180
Publisher: Open Letter
Review Posted Online: Sept. 1, 2019
Kirkus Reviews Issue: Sept. 15, 2019
BOOK REVIEW
BOOK REVIEW
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
Too much drama at the end detracts from a finely wrought and subtle conundrum.
Ware (In A Dark, Dark Wood, 2015) offers up a classic “paranoid woman” story with a modern twist in this tense, claustrophobic mystery.
Days before departing on a luxury cruise for work, travel journalist Lo Blacklock is the victim of a break-in. Though unharmed, she ends up locked in her own room for several hours before escaping; as a result, she is unable to sleep. By the time she comes onboard the Aurora, Lo is suffering from severe sleep deprivation and possibly even PTSD, so when she hears a big splash from the cabin next door in the middle of the night, “the kind of splash made by a body hitting water,” she can’t prove to security that anything violent has actually occurred. To make matters stranger, there's no record of any passenger traveling in the cabin next to Lo’s, even though Lo herself saw a woman there and even borrowed makeup from her before the first night’s dinner party. Reeling from her own trauma, and faced with proof that she may have been hallucinating, Lo continues to investigate, aided by her ex-boyfriend Ben (who's also writing about the cruise), fighting desperately to find any shred of evidence that she may be right. The cast of characters, their conversations, and the luxurious but confining setting all echo classic Agatha Christie; in fact, the structure of the mystery itself is an old one: a woman insists murder has occurred, everyone else says she’s crazy. But Lo is no wallflower; she is a strong and determined modern heroine who refuses to doubt the evidence of her own instincts. Despite this successful formula, and a whole lot of slowly unraveling tension, the end is somehow unsatisfying. And the newspaper and social media inserts add little depth.
Too much drama at the end detracts from a finely wrought and subtle conundrum.Pub Date: July 19, 2016
ISBN: 978-1-5011-3293-3
Page Count: 352
Publisher: Scout Press/Simon & Schuster
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
