Though occasionally slow-moving, this narrative explores major themes of obsession, passion and control.
A novel of obsession—only partially erotic—that spans 50 years of German history, from World War II till the fall of the Berlin Wall.
Alexander von Brücken is old and dying, and as a final dramatic gesture he requests an unnamed novelist to listen to the story of his life and, after his death, to fictionalize these incidents and thus chronicle a lifelong obsession he had with Sofie Kurtz, a girl he originally met when they took shelter together during bombing raids. Several years after the war von Brücken takes over the family business, becomes a millionaire and tries to trace Sofie, who had been lost in postwar chaos. Eventually he discovers her in the village of Wuppertal, where she was living with her stepsister Birgit. Both girls are rivals for the affection of Rolf Schnitgerhans, an attractive, politically active suitor, and Rolf is happy to oblige the two of them. Shortly thereafter the girls’ fates take them down different paths: Birgit becomes a prominent lawyer, gradually becoming more “establishment” after a flirtation with radical politics, while Sofie tries to remain true to her radical roots. She’s finally arrested for taking part in a bank robbery intended to help fund her political leanings. The unfolding of Sofie’s life becomes for von Brücken an idée fixe, and he has Lukian Keferloher, one of his loyal employees, keep her under careful watch—though the plan is somewhat thwarted when Lukian falls in love with her. It turns out that von Brücken is at least as much in love with control as with Sofie and he discovers that “the eroticism of power has seldom been adequately celebrated by writers for the plain and simple reason that hardly any writers have ever possessed power…and felt its thrill for themselves.” By telling his story von Brücken tries to give a sense of that thrill.
Though occasionally slow-moving, this narrative explores major themes of obsession, passion and control.Pub Date: Aug. 1, 2008
ISBN: 978-1-933372-58-7
Page Count: 352
Publisher: Europa Editions
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: July 1, 2008
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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