'The Handmaid's Tale' - Margaret Atwood 1985.

'The Handmaid's Tale' was a bit of a disappointment for me. I came across the title in a list of the best dystopian novels and I thought the premise was brilliant; a world where most women are infertile, and the fertile ones have been reduced to a single function 'breeding'. I must have skimmed over the next part of the blurb which reads "but even a repressive state cannot obliterate desire - neither Offred's nor that of the two men on which her future hangs" which should have tipped me off to the major issues I would have with this book. Having read another of Atwood's novels, 'Alias Grace', many years ago I should have also had some clues about what to expect from her writing style, however in all cases I was oblivious.

The premise is certainly not a unique one, the first similar example that springs to mind is Children of Men, but 'The Handmaid's Tale' focuses on an anti-female backlash against the feminist movement during the 1980's rather than simply rising infertility.

The chapters jump around in quite a strange manner which is not explained until the post-script, but the main flow of the story is that in the early 80's a group (of men presumably) took over the United States of America, and took away the rights of women. This began with taking away their jobs and bank accounts, and then extended to segregation of fertile and infertile women, and a complete restructuring of society to suit a very strange vision of the reproductive future of America. The protagonist is called 'Offred' which can be read as 'of Fred' meaning 'Fred's Handmaid'. As the handmaid allocated to Fred by the government Offred must wear a very bizarre red outfit, live in his house (with his 'blue' infertile wife) and hopefully bear his child after which she will be transferred to a different man.

While there are a lot of feminist ideas and issues raised throughout the novel, overall it is oddly anti-women. The only strong female characters, particularly the main champions of feminist ideals pre-takeover, are cowed and broken. The indecisive, frustrating protagonist eventually surrenders her fate to the various men who dominate her life 'legally', 'covertly' and 'emotionally'.

Despite the disappointment that this was not the book I thought it would be, I did enjoy reading it. Atwood's style in this case is abrupt, taking odd turns and branching off on tangents, and often is without a clear sense of timeline. The post-script, which explains the odd style, really made this book for me. It added so many additional dimensions and made me re-think so much of what I had read.

I have had a few people mention to me that they read it in high school, so I would love to know what you take on it is. Did you enjoy it? Was it ruined by high school English? What were the inevitable 'lessons' to be learnt from it?

Love it, Read it,
LR

'Cold Spring Harbor' - Richard Yates 1986.

While reading this book I realised that a very large number of the books I have been reading recently have been written in the 1930's. This was certainly not by design, merely by coincedence, but it is still interesting. Though Cold Spring Harbour was published in 1986 it is set throughout the 1930's and 40's, which would have been the time of Richard Yates' childhood (he was born in 1926). The setting is also that of Yates' childhood, and though I didn't realise this until after I finished the whole book, the obvious realism of the setting gives this book much of its 'flavour'.

The story scrolls through the perspectives of a number of characters, but mainly centers around the life of a young man, Evan Shepard. After a troubled adolescence, followed closely by a tumultuous relationship which resulted in a child at an early age, and then divorce, at the beginning of the book Evan is living at home with father and mentally unhinged mother, and works in a menial factory job. From Evan's chance meeting with a lovely lady, Rachel, the novel charts their swift marriage, and their downward spiral into unhappiness.

Despite enjoying the setting and the 'time capsule' feel of the book, overall I didn't really enjoy it very much. The plot is quite vague, consisting of very little more than the above paragraph.. There is something quite depressing about a book in which none of the characters, central or peripheral, are able to achieve anything of note or live to their full potential, almost entirely of their own volition. Without exception the characters are all hopeless in all their pursuits. This sense of hopelessness and entrapment permeates all aspects of the book, and left me with a feeling of sadness. Definitely not a cheerful puff piece to read at the beach this Summer.

Love it, Read it,
LR

'Dance, Dance, Dance' -Haruki Murakami 1988 (English translation by Alfred Birnbaum 1994)

Murakami's novels are so unusual I find them very hard to describe. He is definitely one of my favourite authors, for a number of reasons relating to his style of storytelling, but especially because I read two of his books while travelling in Japan alone earlier this year and they became a big part of my journey. Thus far I have read (in this order); NorwegianWood(The movie of which I saw recently and enjoyed), The Wind Up Bird Chronicle, A Wild Sheep Chase, and today's review Dance, Dance, Dance. All four feature a Japanese male protagonist who deals with love, loss, loneliness, rejection, dislocation and friendship. Feelings of isolation and despair are pervasive in all four books, yet somehow they are not depressing.

But for today we will focus on 'Dance, Dance, Dance'. This is the sequel to 'A Wild Sheep Chase', something I did not realise when I bought the book, but was immediately clear once I began reading. I think you could read 'Dance, Dance, Dance' alone, however reading 'A Wild Sheep Chase' beforehand would definitely help to make sense of some of the more bizarre supernatural elements.

I honestly believe that the people who write the blurbs on the back of books must not have read the books they are writing about (This is a long running bugbear of mine). The same goes for many reviewers, or the people who choose which quotes go onto book covers. With 'Dance, Dance, Dance' this was especially irritating, as the blurb and some of the quotes (in my opinion, feel free to correct me) completely misrepresent Murakami's work. Dance, Dance, Dance, is not science fiction. Murakami is not 'imagining the future' as one reviewer mentioned, the book is set in the late 1980's in Japan, a real time, and in real places. There are real celebrities mentioned, many many real songs from the correct periods mentioned, and references to real events such as the Vietnam war, World War 2, student riots in Japanese universities etc. None of these events are 're-imagined' and the world is not an alternate universe, a dystopian or indeed utopian future. The closest thing to 'science fiction' are the supernatural elements I mentioned before. However they are written in such a way that they could be explained as vivid dreams revealing the (unnamed) protagonist's subconscious. The main supernatural character 'Sheep Man' is described as being a part of the protagonist, and the supernatural worlds visited are described as belonging to the protagonist (though a hotel receptionist also accesses one). Another main character described by the blurb as a 'lovely teenage psychic' specifically says she is not a psychic, though he abilities add a strong element of the metaphysical to the novel, and I think you could call her an empath.

Overall, I really enjoyed this book. I love the way Murakami writes (there are a couple of quotes below to demonstrate), and the story like that is a slow building detective novel or crime drama. As more and more information comes to light and more and more people become implicated, the original investigation reveals many related crimes, and ultimately there is a resolution and a mostly happy ending. 

[With regards to advances in phone communication] "But no matter how advanced the systems, no matter how precise, unless we have the will to communicate, there's no connection" (p126)    

[Dick North is a character with one arm, who, in the preceding chapter, died] "The house was still haunted by Dick North's presence. Dick North was still inside me as well. I remembered his smile, his surprised look when I asked him if he used his feet to slice bread. Interesting man. He'd come more alive since his death." (p335)

Love it, Read it,
LR