My rating: 5 of 5 stars
I read the first story of this book, “Murder in the Dark,” and when I was finished I turned to my husband, shoved the book in his hand, told him to read it and then he was to tell me HOW DID SHE DO THAT?
He didn’t really have an answer but his comment defined what I thought of the rest of the book: “It’s written with the confidence of someone who knows she can hit a homerun every time.”
Confidence oozes through every one of these pieces.
Least faves (because they just seemed a little too forced – and I wish I had a better word for that sensation, but that’s the best I’ve got!):
“Gertrude Talks Back”: Queen Gertrude gives Hamlet her opinion on her current and former husbands. Fine. But the tone somehow seemed dismissive – and the character of Gertrude never seemed dismissive in the play – which is doubly odd considering the information she is giving her ‘priggish’ son. And, this may seem an odd critique, but I think the white space between the paragraphs doesn’t do the story any favors. It gives it a fragmented feeling and I think that a piece riffing on Shakespeare would work better within the play framework – perhaps shaping the monologue in a block form like Hamlet’s own speeches would have allowed the words to have more impact instead of making the reader adjust both the form and the words.
“Poppies: Three Variations”: While this is probably the most complex exercise, it reads just like that: an exercise. She riffs on a verse about poppies by John McCrae by using the same words of that verse, in the same order, to tell three different stories. The first words of McCrae’s verse is ‘in Flanders’ and all three mini-stories have with ‘in’ followed somewhere by ‘Flanders’ followed somewhere by the next word in the verse. It’s a good way to stretch the literary muscle, but it’s like watching someone work out – we admire their physique but prefer not to see the huffing and puffing and sweat that go along with it. Just give me the calendar, ya know?
The stories that I absolutely adore are the ones that have a satirical bite to them.
“Simmering”: Oh! My FAVORITE by far. (I know, it’s unfair to choose favorites, but there you have it, anyway.) It’s all about what happens when men take over the kitchen. Go get this book and read that story.
“Murder in the Dark”: It set the tone for the rest of the book. Is the author just trying to manipulate the reader throughout (I’m totally okay with the way Atwood manipulates, by the way), is she just a magician showing nothing of reality? Puts the power with the writer…so I think my writerly friends will enjoy this a lot…as well as readers who like to figure out the trick. I still haven’t….
“Happy Endings”: A choose-your-own adventure marriage!
Atwood also illustrated the collection, and some are as provocative as the stories – which are also dominated by the bits and pieces of male and female anatomy. Interwoven among the stories is the question of objectifying the body: “Making a Man,” “Alien Territory,” “Dance of the Lepers,” and “Good Bones” hit on the question in a more direct way…but it’s everywhere.
Well worth reading – and it won’t take that long either.
Jenny writes dark fiction that her mother hates. Her stories and essays have appeared in Across the Margin, Pantheon, Shimmer, Black Denim Lit, Skive, and others. When she’s not writing her own stuff, she’s reading mysteries for Criminal Element. When she’s not writing fiction or reviews, she’s writing/directing/performing/designing plays at Springs Ensemble Theatre.