Ackerman humanizes a war fraught with tragedy and seemingly without resolution.
A timely novel about tension at the border between Turkey and Syria—and about the personal costs involved in trying to join the conflict in the Middle East.
Although Haris Abadi was born in Iraq, he moved to the United States and became a citizen after the first Iraq War. When the novel begins, he has returned to the Middle East, fueled by restlessness and by a newfound idealism: he finds himself drawn to “the establishment of a free and democratic Syria,” and this involves a commitment to remove Bashar al-Assad from power. So now, from a backwater town in southern Turkey, he’s trying to get into Syria to fight with the Free Syrian Army. Unfortunately, the mysterious man who’d recruited him to fight (and with whom he’s only communicated via email) is not being responsive. Haris is stopped unceremoniously at the border and informed that it’s closed. This incident sets in motion the rest of Ackerman’s narrative, for while the war in Syria remains close but abstract, the journey across the Turkish-Syrian border is immediate and problematic. He links up with Saied and Athid, two unsavory types who promise him safe passage, but they sell him out to the border guards, yet one more example of the difficulty and corruption Haris faces as he tries to cross the border. The drama intensifies when he meets up with Amir and Amir’s beautiful wife, Daphne, who have lost a daughter in the fighting around Aleppo. While Amir tries to make arrangements (via strategic use of bribery) to ensure Haris’ safe passage into Syria, Daphne faces a difficult decision: to remain with her husband or to stay with Haris on his quest to enter Syria and thus return to Aleppo. As he did in his first novel, Green on Blue (2015), former Marine and current Middle East scholar Ackerman explores territory familiar to him but uncharted to most of us.
Ackerman humanizes a war fraught with tragedy and seemingly without resolution.Pub Date: Jan. 25, 2017
ISBN: 978-1-101-94737-1
Page Count: 256
Publisher: Knopf
Review Posted Online: Nov. 5, 2016
Kirkus Reviews Issue: Nov. 15, 2016
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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