If at times the novel suffers from its slightness, its dark conclusion is astonishing in its honesty.
Two women in the film industry, one from New York and the other from Paris, share a close friendship ruptured by trauma.
This is the third book to appear in English from French author, journalist, and film producer Halberstadt (La Petite, 2012, etc.). The narrator, Michèle, who lives in Paris, is writing to her American friend, Molly, who's suffered a brain aneurysm and is in a coma. Entwined with her reaction to her friend’s sudden and prolonged illness, she reflects on the beginning of their friendship—they bonded over absurd demands from Tom Cruise—and recalls highlights from their years of attending international film festivals together. She ruminates on her experience as a working mother and compares it to Molly’s single and singularly focused life; photos of the celebrities Molly's worked with decorate her home more prominently than snapshots of friends and family. References to “a cartoon pinup astride an atomic bomb,” Gloria Swanson's performance as Norma Desmond in Sunset Boulevard, and Elton John's singing “Candle in the Wind” at Princess Diana's funeral characterize Molly as a powerful force at risk of extinction. Molly eventually emerges from her coma, but she apparently will never get to read this account in its entirety: Michèle writes about her husband's infidelity but then excludes those pages from what she intends to show her recovering friend, adding a layer of complexity to the narrative. The adultery and Michèle’s reaction to it are described as banalities to be abhorred, just as she abhors sappy American hospital dramas. This concern with cliché is strangely at odds with prose that is peppered with stock phrases such as “blew me away,” “smokes like a chimney,” and “I stuck to my guns.” This superficial language, however, is cut by darker, more incisive imagery. In remembering the story of Pinocchio ending up in the belly of a whale, Michèle asks of Molly, “Which belly, inside which giant fish have you gotten lost?” and then answers, “But then you’re not a wooden puppet who has to pay for her lies.”
If at times the novel suffers from its slightness, its dark conclusion is astonishing in its honesty.Pub Date: April 12, 2016
ISBN: 978-1-59051-759-8
Page Count: 176
Publisher: Other Press
Review Posted Online: Jan. 19, 2016
Kirkus Reviews Issue: Feb. 1, 2016
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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