A well-intentioned but ultimately unsuccessful portrait of women in wartime Afghanistan.
Two women from different cultures collide in American-occupied Afghanistan in 2002.
Farida Basra doesn’t want to marry Gul, an uneducated Afghan man her father has selected for her. She doesn’t want to adapt to his family’s traditional way of life, and she especially doesn’t want to move from her native Pakistan to Kabul, where Gul and his family see opportunity in the wake of the 9/11 attacks. But soon enough, she finds herself adjusting to her new life and finding not only passion with Gul, but also a shared enemy in the Americans who have invaded their city. One of those Americans is Liv Stoellner, an NGO worker married to a professor who specializes in Afghanistan. Liv’s marriage to the chronically unfaithful Martin begins to crumble when they move from their comfortable American college town to Kabul: While Liv throws herself into her work interviewing local women for Face the Future, Martin hides in his office writing reports that yield no results and lusting after Farida, who happens to be acting as Liv’s translator at her father-in-law’s behest. But Farida—and her family—is planning more than just translation. Florio, a white journalist who has reported in Afghanistan, has previously published a series of autobiographical mystery novels (Under the Shadows, 2018, etc.). This foray into literary fiction is well-meaning but misguided. Despite Florio’s evident familiarity with the novel’s setting, the Middle Eastern characters remain flimsy archetypes. Farida’s initial horror at her arranged marriage vanishes almost immediately, while Gul’s initial expressions of misogyny conveniently fade. Gul’s family is similarly two-dimensional, and the white American characters hardly fare better: Martin is cartoonishly boorish, and Liv’s persistent cluelessness is grating. The plot, meanwhile, is convoluted and frustrating: Face the Future is clearly tied to the U.S. government in some way, for instance, but this connection is never fully explored. The novel purports to explore the ethical quagmire of America’s occupation of Afghanistan, but with characters so limited, it can barely scratch the surface.
A well-intentioned but ultimately unsuccessful portrait of women in wartime Afghanistan.Pub Date: July 24, 2018
ISBN: 978-1-5011-8192-4
Page Count: 336
Publisher: Atria
Review Posted Online: April 30, 2018
Kirkus Reviews Issue: May 15, 2018
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
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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