A grainy montage of suffering and survival, by turns morbid and mordant.
Now in English translation, the 1991 novel by bestselling Chinese author Yu Hua (To Live, 2003).
Yu’s first full-length work—actually, a serpentine, episodic collection of anecdotes forming a kind of Maoist-era kinderscenen—details the boyhood of Sun Guanglin and his encounters with some dreadfully unfortunate (or just plain dreadful) people in two Chinese rural villages—the discordantly Midwestern-sounding “Southgate” and “Littlemarsh.” Guanglin’s father, Kwangtsai, beats him, tries unsuccessfully to capitalize on youngest son Guangming’s death by drowning and molests both women in elder son Guangping’s life. Kwangtsai cavorts with the nymphomaniac widow next door, giving her his wife’s household goods, then starves his own father and ultimately drinks himself to death. Guanglin’s Littlemarsh adoptive parents, to whom he’s farmed out at age six, turn him into a household servant and entrust his education to sadistic teachers. The foster father dies spectacularly (suicide by grenade) after blowing up the apartment of the woman who exposed his extra-marital affair. Alone once more, Guanglin, now 12, borrows the fare from another unwanted child, his friend Guoqing, and returns home to where the story began: Kwangtsai’s cottage is engulfed in flames. Flashbacks reveal that Guanglin’s grandfather, Sun Youyuan, fled the Japanese invasion and rescued a former aristocrat and fellow refugee, Guanglin’s grandmother, who was turned out of her mandarin home because she happened to glimpse two sparrows mating. Youyuan saves the rice harvest by urging Southgate residents to toss out their Buddha figurines, but then dies, convinced his soul has already departed. Guanglin’s friends are equally doomed: Schoolmate Su Yu, after doing time in reform school for embracing a girl, dies of a brain hemorrhage while his family follow their morning routine, assuming Yu is sleeping late. Guoqing, whose father abruptly remarried, leaving the nine-year-old with a spooky old lady, prospers from subsidies from other relatives but at 13 is arrested for attacking a family who won’t let him court their daughter.
A grainy montage of suffering and survival, by turns morbid and mordant.Pub Date: Oct. 9, 2007
ISBN: 978-0-307-27999-6
Page Count: 288
Publisher: Anchor
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2007
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
© 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.
