The sheer power of its core material makes Walk Through Darkness intermittently gripping and affecting, but far too much of...
The long arm of coincidence and an overload of what seems very like wish-fulfillment mar this potentially moving story of a runaway slave’s northward odyssey, the successor to Durham’s flawed but deservedly praised first novel Gabriel’s Story (2001).
It consists of two parallel narratives. The primary one follows William “Humboldt’s” flight (in 1854) from the Maryland tidewater plantation where he had remained after his pregnant wife Dover was brought by her mistress north, to Philadelphia. Interpolated italicized chapters and passages chart the progress of Andrew Morrison, a Scottish immigrant and hunter hired by William’s owner to retrieve the latter’s “property.” The story is best in the early going, as Durham’s obviously thorough research and deep empathy with his subject create vivid pictures of Morrison’s haunted past and William’s successive ordeals, including incarceration in a slave compound followed by a bloody rebellion during which he escapes again, rescue by a ship whose compassionate captain refuses the demands of Southern slaveholders, and William’s embattled passage to Philadelphia and reunion with Dover. So far, so good—except when characters like saintly fellow fugitive Lemuel and Northern freedman Redford Prince are permitted to lecture us about such issues as the Fugitive Slave Law and the brotherhood of man. And the novel collapses into ludicrous contrivance when Durham (as unsubtly as can be imagined) links the guilty secret in Morrison’s past with William’s clouded paternity and personal history. One understands that Durham’s point is (as Faulkner made clear again and again in his fiction) the degree to which all our histories intersect and are interdependent. But his story’s thrust is so weighted toward melodramatic oversimplification that one thinks, while reading it, less of earlier literary fiction built on similar themes than of the TV version of Roots.
The sheer power of its core material makes Walk Through Darkness intermittently gripping and affecting, but far too much of its content simply defies credibility. One wonders if it’s actually Durham’s first novel.Pub Date: May 1, 2001
ISBN: 0-385-49925-6
Page Count: 304
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2002
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
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