Saturday, October 19, 2019

The Testaments by Margaret Atwood

Hardcover, 422 pgs, Pub Sept 10th 2019 by Nan A. Talese, ISBN13: 9780385543781, Series: The Handmaid's Tale #2 Lit Awards: Booker Prize (2019), Scotiabank Giller Prize Nominee (2019)

As this sequel to Atwood’s worldwide bestseller and Hulu serialized drama, The Handmaid’s Tale was coming to a close I grew anxious. ‘There are’t enough pages left to wrap this up,’ I thought, but I wasn’t giving Atwood and her editors enough credit.

The story is Atwood’s conversational response to readers who wanted to know what happened to characters left in extremis at the end of A Handmaid’s Tale. Atwood’s wonderful sense of humor brings the sharp-eyed, lumpy woman adorned in brown burlap and known as Aunt Lydia to life. Her diary is being composed as we read:
“Two roads diverged in a yellow wood, and I took the one most travelled by. It was littered with corpses, as such roads are. But as you will have noticed, my own corpse is not among them.”
This turns out to be one page in Aunt Lydia’s apologia for misdeeds first forced upon her and then undertaken as a means to an end. Whose end we learn at the finish.

Two more points of view are given in short, discontinuous and not always parallel histories. A young girl growing up privileged in Gilead discovers at thirteen that she is considered marriageable. The horror of that notion stirs rebellion within her. An orphaned teen in Canada learns her guardians have been car bombed. She apparently has some debts to pay.

Atwood braids these three stories, giving each voice real distinction and character. Our mind’s eye has each firmly in sight as they gradually find themselves within arm’s reach of one another. One of the girls tells the other that Aunt Lydia is the “scariest of all the Aunts…You get the feeling she wants you to be better than you are…She looks at you as if she really sees you.” Hmm, yes.

What was most interesting to me as I blazed through this big book—it is very easy to read, a straight-line adventure story—is how Atwood could see so clearly certain social and political trends that are evidenced in our society now. Her clarity and comprehensiveness of view reveals so much about her own personality. She’d be a wonderful friend.

Vermont and Maine get top billing as states on Gilead’s border where residents are known to be willing to transport ‘grey market’ goods like lemons or escaping girls. A New Englander myself, I was disappointed New Hampshire was not similarly viewed until I considered the White Mountains would pose a significant barrier to anyone expecting to travel past them to the north.

In the end, I was gratified to discover Portsmouth, NH was chosen as a key location for by-sea person-smuggling from Gilead, just as it had been historically for black slaves of old seeking freedom in the north.

It is difficult to avoid Atwood’s premise that literature must be destroyed in a repressive state because new, creative notions about how to live are subversive. Atwood picked out for especial notice books that would be have an enormous impact on impressionable minds, like Jane Eyre, Anna Karenina, Tess of the D’Ubervilles, Paradise Lost, and Lives of Girls and Women.

I haven’t read the last but would like to, now. I might take issue with Paradise Lost. I read that again a couple years ago to compare it to Jamaica’s Kincaid’s memoir See Now Then and I can honestly say that book is too dense, particularly for young girls who are just learning to read. But Atwood probably knows better. When one’s library is limited, sometimes one’s understanding becomes sharpened.

When the girls in Gilead were finally able to read, it came as a shock to them that the Aunts had lied to them about the Bible. The Aunts had told the girls that the dismemberment story of the concubine, while horrific, was an act of sacrifice, a noble and charitable act. Reading the words themselves the girls discovered there was only degradation and hatred in the killing of an innocent.
“I feared I might lose my faith. If you’ve never had a faith, you will not understand what that means. You feel as if your best friend is dying, that everything that defined you is being burned away; that you’ll be left all alone.”
We have to have some empathy, then, for those who will lose their faith, however weak it has become over the years, in a political party now called Republican. It is sad, this death of belief.

Very very glad to hear from Margaret Atwood again. I miss her already.





View all my reviews

Monday, October 14, 2019

Coventry: Essays by Rachel Cusk

Hardcover, 256 pgs, Pub Sept 17th 2019 by Farrar, Straus and Giroux (first published August 20th 2019), ISBN13: 9780374126773

When I heard about a new book of essays by Rachel Cusk, I had two conflicting reactions: one was joy and one was sadness. Cusk is one of my favorite authors. She thinks deeply and can straightforwardly, analytically discuss her perceptions in involving prose but her characters can also demonstrate wildly ditzy intellectual fadeouts. I was sad to think I’d never have the quietness of mind in the current worldwide political upheaval to read her work in peace.

Then I saw a review by Clair Wills in the September 26 issue of The New York Review of Books. Cusk explained she also was experiencing a disconnection with something she is obviously attached to: writing. The review begins
“Rachel Cusk is fascinated by silence. About five years ago she announced that she had given up on fiction. A prolific writer, she had by then published seven much-praised novels and three memoirs but, she explained, she was done with both genres…Fiction now seemed to her 'fake and embarrassing. Once you have suffered sufficiently, the idea of making up John and Jane and having them do things together seems utterly ridiculous.’”
Ah. She caught me again. That’s exactly the way I feel about fiction when the world is burning.

Cusk doesn’t pander, doesn’t claim to be more than she is, and generally she stands firm on the ground she occupies but she does make tiny acknowledgements of fragility or uncertainty. Her opening essay, “Driving as a Metaphor,” starts out brassy with surety: “Where I live, there is always someone driving slowly on the road ahead.” We immediately get the impression this writer has much too many important things in her day without calculating in an extra five minutes for safety along a curvy coastline. Later in the same essay, she lets her attitude down a little and admits
“At busy or complicated junctions I find myself becoming self-conscious and nervous about reading the situation: I worry I don’t see things the way everyone else does, a quality that otherwise might be considered a strength. Sometimes, stuck on the coast road behind the slow drivers while they decide whether or not they want to turn left, it strikes me that the true danger of driving might lie in the capacity for subjectivity, and in the weapons it puts at subjectivity’s disposal.”
Ah, once again. How can one not read Cusk when she writes like this, writing whatever she claims she cannot write. We need this particular mixture of vulnerability and steeliness to reassure us we are not mad about the apocalyptic shakiness of what we’d taken as firm ground.

She displays something of this heady teenagery cocktail of self-doubt and disdain in the title essay of her collection, “Coventry.” She describes boarding school and parents who could be aloof for reasons she never really understood. Their silence towards her she calls “being sent to Coventry.” Cusk may have felt she was sent to Coventry again as an adult by the reading public after her 2012 memoir, Aftermath, in which she gave voice to resentment over her divorce. But she was not wrong to concentrate on her own feelings in that memoir. How could she possibly know or consider her husband’s feelings in the midst of the personality destruction that is divorce?

In the NYRB review, Claire Mills writes that Cusk
“is not only willing to admit to her darkest instincts; she seems to revel in the anger they produce in others. How else to interpret the fact that—seven years after the ‘creative death’ that the response to Aftermath precipitated in her, she has republished the essay on which Aftermath was based in Coventry, her new collection of essays?”
Mills’ interpretation of Cusk’s insistence on including this essay is not one I agree with. Were I to guess the reason, it would not be asserting Cusk persists in equating truth with honesty or truth as the opposite of stories. My guess would be that Cusk is asking us to think about truth and honesty, reality and fiction and see if there is much overlap. We are in the midst of a truth revolution, after all, and I feel quite sure she is just positing the question rather than supplying the answers.

This book of essays is divided into three parts, the first of which includes new work and the longish essay “Aftermath.” Part II is called A Tragic Pastime and includes a discussion of the sculptor Louise Bourgeois and a discussion on women’s writing called “Shakespeare’s Sisters,” among other things. Part III, entitled Classics & Bestsellers contains reprints of essays published earlier, including reviews of Edith Wharton & D.H. Lawrence, on Olivia Manning’s work, on Natalia Ginzburg, on Kazuo Ishiguro.

Cusk knows her writing has a lashing quality sometimes. She is comfortable with that. I am, too. Hey, life is not always a basket of cherries. She has been nothing but forthright that she will write what she thinks and feels, and you should take it or leave it. She would prefer you do not slam the door on the way out, thank you very much.

Below please find my reviews of Cusk's earlier work:
Saving Agnes, 1993
The Temporary, 1995 (not reviewed yet)
The Country Life, 1997
A Life's Work: On Becoming a Mother, 2002
The Lucky Ones, 2003
In the Fold, 2005
Arlington Park, 2006
The Bradshaw Variations, 2009
The Last Supper: A Summer in Italy, 2009
Aftermath: On Marriage & Separation, 2012
Outline, 2014
Medea, 2015
Transit, 2016
Kudos, 2018
Coventry: Essays, 2019