The author’s first collection of shorter fiction in more than a decade underscores his reputation as a contemporary master.
A superbly crafted and deeply moving collection of fiction, with a provocative back story.
The Irish-born, New York–based McCann (who won the 2009 National Book Award for Let the Great World Spin) here offers four pieces of fiction that focus on the process of writing and the interplay between art and its inspiration. As he writes in a concluding Author’s Note, "Every word we write is autobiographical, perhaps most especially when we attempt to avoid the autobiographical. For all its imagined moments, literature works in unimaginable ways.” He provides literary framing with the title, evoking the oft-cited Wallace Stevens poem. As for autobiography: the title novella's multilayered narrative evokes an incident that—amazingly—happened to McCann after he wrote the story, in which he was cold-cocked on the sidewalk by a stranger in a seemingly senseless attack. The story’s protagonist is an aged judge of failing body but nimble mind who has just had dinner with his boorish son when he’s assaulted on the street. The story is told in the third person, but most of it hews closely to the judge's point of view. As he ponders his mortality, he muses, “Give life long enough and it will solve all your problems, even the problem of being alive.” Other perspectives come from a series of seemingly omnipresent security cameras—in the judge's apartment, in the public areas of his Upper East Side building, and in the restaurant where he has dinner with his son; their images are investigated after the attack by detectives whose work McCann compares with literary critics interpreting a poem. The three other stories are shorter, often involving a crime or a loss or a threat of some sort, with the writer’s presence most evident in “What Time Is It Now, Where Are You?,” which begins, “He had agreed in spring to write a short story for the New Year’s Eve edition of a newspaper magazine,” and then proceeds through possible variations of that story. “Sh’khol” explores similarities between a story the protagonist has translated and a possible tragedy she's facing. The closing “Treaty” has an activist nun of advanced years and unreliable memory disturbed by images of a man who brutalized her almost four decades earlier.
The author’s first collection of shorter fiction in more than a decade underscores his reputation as a contemporary master.Pub Date: Oct. 13, 2015
ISBN: 978-0-8129-9672-2
Page Count: 256
Publisher: Random House
Review Posted Online: July 14, 2015
Kirkus Reviews Issue: Aug. 1, 2015
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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