JESS JUST READS

A BOOK REVIEW BLOG

The Handmaid’s Tale by Margaret Atwood

Offred is a Handmaid in the Republic of Gilead. She may leave the home of the Commander and his wife once a day to walk to food markets whose signs are now pictures instead of words because women are no longer allowed to read. She must lie on her back once a month and pray that the Commander makes her pregnant, because in an age of declining births, Offred and the other Handmaids are valued only if their ovaries are viable. Offred can remember the years before, when she lived and made love with her husband, Luke; when she played with and protected her daughter; when she had a job, money of her own, and access to knowledge. But all of that is gone now…

Margaret Atwood’s ‘The Handmaid’s Tale’ is set in the near future where a Christian theocracy has overthrown the government. The main character, Offred, is a handmaid for reproductive purposes. Although Offred does not possess an authoritative role, she is in the midst of a new world that reflects contemporary society. This alterity introduces the thematic subject of gender, which revolves around its theme of existing double standards within a futuristic setting. Feminism is another thematic subject present in Atwood’s ‘The Handmaid’s Tale’ and is highlighted by the gender struggles and the class system’s marginalisation of women.

In 2005, Atwood spoke to The Guardian about how she labels her novel as speculative fiction, and the conventions that can be found within: exploring the limits of humanity, delving into the proposed changes to social organisation, and the possibility of new and advanced technologies. In ‘The Handmaid’s Tale’, there is no futuristic, advanced technology and its abandonment altogether makes way for primitive ceremonies. The limits of humanity are seen through Offred’s role as a handmaid for The Commander, and her subsequent relationship with him. There is no legal protection, no outside force trying to overthrow the totalitarian ruling, and Offred and the other handmaid’s are forced to accept the little power that they have. Also, the proposed changes to social organisation are the Gileadean regime and its efforts to control sex and sexuality. This government ultimately destroys itself, which is unsurprising because the regime seems to underestimate the importance of sexuality. Offred contemplates suicide in the novel, but she ignores this and continues her affair with Nick because she enjoys their sexual intimacy and confides in him. This enforces the power of sexual acts, and illustrates how Offred will not submit to the pressure and torture of the government.

Atwood manipulates the setting to exaggerate the flaws of contemporary society. The government enforces the unfair distribution of power between characters, and this illustrates an abuse of power. Atwood’s incorporation of setting helps drive the piece and highlights power dynamics between characters. Although this idea of a ‘new world’ is a common convention within speculative fiction, its main function is usually to challenge the nature of humanity. In addition to highlighting the flaws of contemporary society, Atwood pushes the boundaries of this genre convention by exploring each character’s reaction to their new setting and their attempt to break free from their trapped physical and psychological state.

Other influential narrative techniques in ‘The Handmaid’s Tale’ are the use of present tense to heighten and maintain suspense, and the word ‘night’ to introduce and conclude the story. This imagery represents the dark, bleak life that has befallen Offred.

My Score: 9/10

The Road by Cormac McCarthy

A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don’t know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other.

Cormac McCarthy’s The Road focuses on a father’s relationship with his son as they journey through a post-apocalyptic America. The novel possesses common themes and binary oppositions of speculative fiction: familiar vs. unfamiliar, insider vs. outsider, isolation, and the discovery of the unknown. These are essential in speculative fiction and dystopian novels; McCarthy’s uncanny, surreal location is a vital part of the story and propels it forward.

McCarthy omits a lot of information about the past, and in the flashbacks he instead focuses on the relationship between the father and his deceased wife. This left me wondering what happened to America prior to the events in the novel. Ultimately, McCarthy uses the dialogue between the man and his son to reveal back story; however, he reveals very little of it. The man’s flashbacks are only about his wife because in that situation, that is all he thinks about.

The dialogue effectively illustrates the relationship dynamic between the boy and his father. The boy is growing up in a post-apocalyptic world and their bleak, disruptive surroundings make me wonder why they want to continue living. The lack of punctuation and the disjointed conversation are a stylistic technique that’s not often seen in speculative fiction. This emphasises that not only has the man’s country collapsed, but civilisation has as well. Memories and dreams are revealed sporadically throughout the novel and are often cut short. Backstory is usually a major part of speculative fiction; however, McCarthy has omitted a lot of information and instead focused on the collapse of language and the breakdown of speech between the father and his son.

McCarthy’s manipulation of language is an innovative way of drawing parallels to the characters’ surroundings. The fragmented, expositional sentences compare to the fractured lives of the man and his son, and these sentences align with the characters’ fragmented process of sensory perception. These references can also be made through the objects that the man and the boy have to throw away, including the boy’s flute, which represents a contemporary medium for language. When the boy and his father discard this flute, a parallel is drawn to the loss of language that now inhabits the post-apocalyptic setting of The Road.

My Score: 8/10

Not that Kind of Girl by Lena Dunham

These are stories about getting your butt touched by your boss, about friendship and dieting (kind of) and having two existential crises before the age of 20. Stories about travel, both successful and less so, and about having the kind of sex where you feel like keeping your sneakers on in case you have to run away during the act. Stories about proving yourself to a room of 50-year-old men in Hollywood and showing up to an outlandishly high-fashion event with the crustiest red nose you ever saw.

Lena Dunham is known for her television series, Girls, her confidence in Hollywood, and her comedic personality. And this non-fiction book goes behind-the-scenes and helps you understand how she became who she is.

Not that Kind of Girl is funny, insightful, intriguing, and engaging. Lena is a clever writer – the story often diverts on tangents, but I was never annoyed or frustrated. Instead, I relished the tangents because they proved to be more hilarious than the original story Lena was telling.

This book is decorated with hilarious cartoon drawings to accommodate Lena’s stories. The funniest cartoon is probably the picture of the curtains featured three quarters of the way through the book. The caption reads: ‘The curtain my date wiped his dick on’. Lena doesn’t shy away from personal stories – in fact, I’d say 80% of the stories in the book are related to/about sex. Sometimes you wonder if the stories are actually true because you can’t help but think, surely the guy didn’t do that? Or surely that couldn’t happen, right? Who knows. But it’s hilarious either way.

Lena separates the sections of her book and revolves them around different aspects of her life, for example body, work, food etc. Each chapter provides an insight into her life and is illustrated with essays, lists, or emails. The differing ways that Lena tells her stories allows for an engaging read. If the book was entirely made up of essays, then I suspect the reader would get a little bored. But Not that Kind of Girl is written with effortless prose. I’m going to finish my review with the below quote:

“If I could take what I’ve learned and make one menial job easier for you, or prevent you from having the kind of sex where you feel you must keep your sneakers on in case you want to run away during the act, then every misstep of mine was worthwhile.”

My Score: 9/10

The Fault in Our Stars by John Green

Despite the tumor-shrinking medical miracle that has bought her a few years, Hazel has never been anything but terminal, her final chapter inscribed upon diagnosis. But when a gorgeous plot twist named Augustus Waters suddenly appears at Cancer Kid Support Group, Hazel’s story is about to be completely rewritten.

Confession. I read this because people won’t stop talking about it, and when you work in the publishing industry, all that people talk about are books. In particular, popular books that everyone else is talking about. It’s a word of mouth kind of industry.

So the storyline isn’t that unique (it’s very My Sister’s Keeper-esque), and the reader just knows that it’s going to be a sad ending. But despite that, the novel progresses at a fast pace and offers great insight into the effects of cancer on a patient. At no point did I feel that the story was stagnant or that the societal relations were forced. The dialogue was believable, and John Green presented the cancer-stricken narrator in a believable way without being too poor-me-poor-me-poor-me.

At times I felt that Hazel’s voice was a little too young. For a girl who’d spent many years with cancer and knew that she didn’t have much longer to live, she seems a little immature at times. There almost seemed to be a sub plot in the story surrounding Van Houten and Hazel’s favourite novel. I liked this element to the story, and thought that it tied the piece together quite nicely. The characters in the novel all weave in and out of the story seamlessly. I’d recommend this novel not just to regular YA readers, but also to fans of Jodi Picoult.

My Score: 8/10

Deeper Water by Jessie Cole

Innocent and unworldly, Mema is still living at home with her mother on a remote, lush hinterland property. It is a small, confined, simple sort of life, and Mema is content with it.

One day, during a heavy downpour, Mema saves a stranger from a flooded creek. She takes him into her family home, where, marooned by floods, he has to stay until the waters recede. And without either of them realising it, he opens the door to a new world of possibilities that threaten to sweep Mema into the deep

‘They say every hero has to leave home, but what those first steps are like I’m yet to know’

Jessie Cole’s latest title is quite similar to her debut novel: an outsider’s life intersects with someone from a small town. The novel is very character-driven (again, much like Darkness on the Edge of Town) and allows the reader to seep into these characters’ lives unnoticed and observe their somewhat personal circumstances.

The story is subtly tragic – Mema’s growing desire for the stranger disturbs the reader because they know that they don’t quite fit and that it’ll never work out. They live two completely different lifestyles, and Mema’s isolation from society is highlighted even further when she saves the stranger. He’s obsessed with gaining access to his email accounts and his laptop, and Mema struggles to understand why those things are important to him.

The characters intersect at the right moments so that the reader doesn’t feel overpowered by the plot or character relations. And the development of character is gradual and graceful. The novel illustrates a comparison between two separate lives and details the resulting conflict when those lives clash.

At times, the pace of the story seemed to be slow and the characters seemed stagnant. But if you can get past that and appreciate the fluidity of the writing and the raw beauty of the characters, then you’ll enjoy this novel.

My Score: 8/10