The best parts go to horrible Bruce, treasurable Bertie and Bertie’s monstrous little schoolmate Olive. To be continued.
One hundred more slices of life from 44 Scotland Street and environs (Love Over Scotland, 2007, etc.).
The return of art student Pat’s narcissistic former flatmate Bruce from London to Edinburgh tempts Pat to fall for him once more—a situation, as she sagely realizes, that’s “precisely the sort of thing that novelists liked to write about.” Not this novelist, however: Bruce insinuates himself into vapid, good-humored Julia’s flat, and Pat gets on with her life, which is mainly devoted to discouraging the sincere, diffident advances of Matthew, her fabulously wealthy but hopelessly unglamorous boss at the Something Special Gallery. Back at 44 Scotland Street, anthropologist Domenica, returned from the Malacca Straits, is certain that her friend Antonia, who has taken the flat across the landing, nicked one of Domenica’s Spode cups while she was minding her flat. Domenica’s friend Angus hasn’t been able to paint ever since his dog Cyril was accused of biting three neighbors and incarcerated, presumably to await a lethal injection. Downstairs from Domenica and Antonia, statistician Stuart and his overbearing wife Irene continue as the very model of dysfunctional parents, their family now expanded by the arrival of baby Ulysses, who’s about to have quite an adventure for a four-month-old. But the heart of Smith’s episodic tale, which combines selfishness and tenderness, blather and unexpected insight, is Ulysses’ older brother Bertie, a six-year-old savant. Even though Irene has laid the groundwork for some serious sibling rivalry by demanding that he change his brother’s nappies and help her express breast milk for him, Bertie’s fondest wish is that Ulysses be spared the round of Mozart, saxophone lessons and psychotherapy with which his mother afflicts him.
The best parts go to horrible Bruce, treasurable Bertie and Bertie’s monstrous little schoolmate Olive. To be continued.Pub Date: Nov. 11, 2008
ISBN: 978-0-307-38706-6
Page Count: 346
Publisher: Anchor
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2008
BOOK REVIEW
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
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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