bookshelf

HUNTING PARTY

Name: HUNTING PARTY
Author: Agnès Desarthe
ISBN: 978-1-944700-71-3

by Agnès Desarthe ; translated by Christiana Hills ‧ RELEASE DATE: July 17, 2018

This slim novel engages but doesn’t surprise.

bookshelf

A talking rabbit, a hunting party, and an apocalyptic storm descend on the French countryside.

Any novel with talking animals—any novel for adults, anyway—is immediately suspect. Desarthe’s (Chez Moi, 2008) latest does feature a talking rabbit, but the result isn’t as tacky as you might think. Tristan is a yielding, nonconfrontational (human) transplant to the French countryside. When his unyielding wife urges him to join the ultramacho village men on a hunting trip, he acquiesces—but he doesn’t mean to kill anything. When he shoots a rabbit, he does so by mistake and scoops the injured-but-still-living body into his game bag with the hope of protecting it. Tristan and the rabbit go on to engage in a conversation the rest of the hunting party is apparently unable to hear (“Don’t die,” Tristan thinks; “I’m not dying,” the rabbit replies). But then Dumestre, the leader of their little hunting circle, falls into a deep hole, unable to climb out; two of the men go for help, while Tristan (and the rabbit) wait with him. As if that weren’t enough, it soon starts to rain—a heavy, apparently apocalyptic rain. And if that wasn’t enough, flashbacks from Tristan’s sad childhood intersperse with the action. Desarthe’s prose is elegant and clear, and, like other recent French authors, she’s interested in larger existential questions: what it means to be a man, to be human, to live a courageous life. But still: Why the talking rabbit? It’s not clear. It’s not clear, either, what the novel adds up to in the end, not even when the entirely unsurprising secret between Dumestre and Tristan’s wife is revealed.

This slim novel engages but doesn’t surprise.

Pub Date: July 17, 2018

ISBN: 978-1-944700-71-3

Page Count: 175

Publisher: Unnamed Press

Review Posted Online: April 2, 2018

Kirkus Reviews Issue: April 15, 2018

Categories:

LITERARY FICTION

- BOOK REVIEW
CHEZ MOI
by Agnès Desarthe & translated by Adriana Hunter

bookshelf

Awards & Accolades

Likes

12

Google Rating

New York Times Bestseller

THE HANDMAID'S TALE

by Margaret Atwood ‧ RELEASE DATE: Feb. 17, 1985

Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

bookshelf

Awards & Accolades

Likes

12

Google Rating

New York Times Bestseller

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

Categories:

LITERARY FICTION

- BOOK REVIEW
FOURTEEN DAYS
edited by Margaret Atwood & Douglas Preston

- BOOK REVIEW
OLD BABES IN THE WOOD
by Margaret Atwood

- BOOK REVIEW
BURNING QUESTIONS
by Margaret Atwood

- PERSPECTIVES
Appreciations: Margaret Atwood’s Novel The Handmaid’s Tale Turns 30

- SEEN & HEARD
Nan A. Talese, Legendary Publisher, Is Retiring

- BOOK TO SCREEN
Teasers Drop for ‘Shadow and Bone,’ Other Films

bookshelf

THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

bookshelf

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.