A haunting vision of post-'60s malaise whose narrator somehow retains his humor, compassion, and even optimism in the wake...
A grown-up child of the 1960s looks back in anger, seasoned with retroactive awe, at his mercurial father, a legendary activist and counterculture icon.
It will be all but impossible for readers of a certain age to wander far into this elegiac monologue about family upheaval, political tumult, and ruined hopes without thinking of Yippie co-founder Abbie Hoffman (1936-1989), who challenged the political establishment in the '60s with anarchic humor, incendiary rhetoric, and heedless mischief. Most (if not quite all) of the things that happen in this novel to the irrepressible Lenny Snyder, from his glory days as street-level activist and counterculture superstar to his early-1970s period on the run from drug-related criminal charges, happened in real life to Hoffman. Playwright Furst, who displayed wit and empathy dealing with youthful protagonists in Short People (2003) and The Sabotage Café (2007), filters Lenny’s life through the childhood reminiscences of his grown-up son, Fred, short for “Freedom,” who was literally conceived by Lenny and his wife, Suzy, on the grounds of Central Park's Sheep Meadow minutes after they were married in front of “four thousand witnesses tripping on acid and a photographer from the Associated Press.” At first, Fred, along with everybody in Lenny’s orbit, is enthralled with his dad’s “cracked-whip cackle,” rapid-fire patter, and physical courage. But the older Fred gets, the more bewildered he is by Lenny’s mood swings and the verbal abuse and offhand neglect he visits upon those closest to him, whether it’s Fred’s mother, the novel’s most heartbreaking character, or folk singer Phil Ochs, who’s a very close second as he always shows up to help, despite his estrangement from Lenny and his own physical and psychological decline, wherever Suzy and Fred are struggling to live after Lenny’s deep dive into the underground. Other real-life characters come into view, including Allen Ginsberg, William Kunstler, and Jerry Rubin, though Rubin's thinly disguised persona appears under the name Sy Neuman. But what raises this book far above being a roman à clef are the vivid scenes of Fred trying to have a normal childhood in gray, grimy Nixon-era New York City and of him and his mother finding solace with each other as they watch Lenny drift away from them, literally and figuratively.
A haunting vision of post-'60s malaise whose narrator somehow retains his humor, compassion, and even optimism in the wake of the most crushing disillusionment.Pub Date: April 19, 2019
ISBN: 978-0-307-27114-3
Page Count: 352
Publisher: Knopf
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
