A clever philosophical novel that, as the author puts it, has “less to do with lying than surpassing the truth.”

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THE STORY OF MY TEETH

A lively, loopy experimental novel rich with musings on language, art, and, yes, teeth.

Each section of the second novel by Mexican author Luiselli (Faces in the Crowd, 2014) opens with an epigram about the disconnect between the signifier and signified. If you dozed off during lectures on semiotics in college, fear not: though the author is interested in the slippery nature of description, this novel’s style and tone are brisk and jargon-free. The narrator, Gustavo, has decided late in life to become an auctioneer (“to have my teeth fixed”), a job he thrives at in part by skillfully overhyping the values of the objects on offer. Not that he’s immune to being oversold himself: did the new set of teeth he buys at auction really once belong to Marilyn Monroe? The skeletal plot focuses on Gustavo’s hosting an auction to benefit a church outside Mexico City, his hoard of prized objects, and his reunion with his son. But the book lives in its offbeat digressions, like an extended discussion of literary eminences’ lives via their teeth. (St. Augustine was inspired to write his Confessions due to a toothache; G.K. Chesterson had a marble-chewing habit; false teeth were recommended to calm Virginia Woolf’s inner turmoil.) But all this dental chatter isn’t precisely the point. “We have here before us today pieces of great value, since each contains a story replete with small lessons,” Gustavo tells a group of auction attendees, and the whole book is a kind of extended commentary on how possessions acquire value largely through the stories we tell about them. (In an afterword, Luiselli explains that this “novel-essay” was inspired by such questions and was first written for workers in a factory outside Mexico City that has a gallery connected to it.)

A clever philosophical novel that, as the author puts it, has “less to do with lying than surpassing the truth.”

Pub Date: Sept. 15, 2015

ISBN: 978-1-56689-409-8

Page Count: 184

Publisher: Coffee House

Review Posted Online: July 1, 2015

Kirkus Reviews Issue: July 15, 2015

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

THE HANDMAID'S TALE

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

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