Of all the major South American novelists, Vargas Llosa may be the sunniest: he never tries too hard to hold back a sophisticated yet honest amusement at how oddly life usually moves around; his stories of 1950s Lima and Peru have a vernal lilt as well as an expected complexity. And this large new novel is both contrapuntal and positively jaunty. The (apparently autobiographical) narrator, Marie, is not yet 21, working as a newswriter for a mediocre Lima radio station—when his young, divorced aunt-by-marriage, Julia, arrives in town from Bolivia for a little amorous adventure on the rebound. . . only to find herself a wild oat sown by Marie, who puts a move on her right away. Julia, piqued by the novelty, goes along. And the flirtation turns into real romance, then into scandal, and—finally—into a brief but entertaining-for-as-long-as-it-lasts marriage. This bubbly romantic improbability is only one layer here, however—because interleaved with it are gothic yet hilarious radio soap-opera scripts written by yet another Bolivian export to Lima: Pedro Camacho, a humorless, 50-year-old, Argentine-hating troll who quickly becomes the hit of the town with his gory yet full-spirited tales of murder and obsession and ruin. (So intense and devoted is he that he even dresses up as his characters would while he writes, throwing himself utterly—and with priestly artistic purity—into his trashy but beautifully filled-out work.) Each serial, which Vargas Llosa presents as a throbbingly rococo story-summary, is more grotesque and ghastly than the next—until, at one point, Camacho, riding the crest, becomes so ornate and involved that he starts forgetting names and traits of his characters, confusing them; and eventually he has to resort to mass destruction (stadium riots, earthquakes in church) to kill everyone off and thus start clean. Two curves, then, meet in this book: the ascending, rather silly one of Marie and Julia's affair, and the grand-guignol descending one of Camacho's fall into incoherence and failure. And though the anything-but-heavyhanded Vargas Llosa doesn't stick a pin at the meeting point, you're aware of it nonetheless: storytelling is as subject to inexplicable natural laws—entropy, gravity, decomposition—as anything else. All done with the fondest savoring of the virtues of truly popular culture, innocence, imagination: a graceful, untaxing, sweetly subtle book.
Pub Date: July 1, 1982
ISBN: 0312427247
Page Count: 101
Publisher: Farrar, Straus and Giroux
Review Posted Online: Sept. 28, 2011
Kirkus Reviews Issue: July 1, 1982
PROFILES
IN THE NEWS
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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