Readable entertainments that have much to say about the world.
Elegant, assured short stories by Roorbach (Summers with Juliet, 2016, etc.), winner of an O. Henry Prize for a story gathered in an earlier collection.
The germs of whole novels, or at least novellas, can easily be found in several of Roorbach’s stories. One, “Harbinger Hall,” works from a beguiling premise: a young scamp forges a pass to get out of school, permanently, and falls under the aegis of the meaningfully named Mr. D’Arcy, who abets his anarchy while steering him toward a real education, “lessons on the maps; lessons on a polished-brass microscope; lessons in a dozen languages; lessons in business, ethics, economics; lessons in math and mythology; lessons in what the old man called charm.” Through those lessons, Bobby becomes Robert, a man of parts. Or so we imagine, since Bobby is still Bobby at the end of the story, still a kid in jeans and sneakers sometime in the 1960s. Roorbach’s characters are often intellectuals or at least smart people; one memorable one is a young woman who, the narrator of “Dung Beetle” tells us, was “formidable in her own way, too, don’t get me wrong; it’s just that for her there were other subjects besides Marxism.” Thus the sentimental education of a “callow boy” begins. Roorbach writes in unadorned, vigorous language, occasionally allowing a word such as “chondrichthyan” to slip in, though never without reason; “shark” wouldn’t have quite done it, given the elevated machinations that are taking place in “Broadax, Inc.,” which moves into the grown-up world, decidedly inferior to the imaginative world of childhood. But even childhood has its fraught moments; says one teenager of a difficult home life, “My phone-in therapist says [my sisters are] damaged from all the moves. Also, my mother has been in a major depression since Judith was born. Also, my father is basically a Nazi.” Poor dad doesn’t get a chance to defend himself, but given that “Kiva” takes place in Wernher von Braun territory, it just could be….
Readable entertainments that have much to say about the world.Pub Date: June 27, 2017
ISBN: 978-1-61620-332-0
Page Count: 256
Publisher: Algonquin
Review Posted Online: March 20, 2017
Kirkus Reviews Issue: April 1, 2017
PROFILES
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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