|Genre||Novel (659 pp.)|
|Keywords||Abortion, Aging, Children, Colonialism, Communication, Family Relationships, Freedom, Grief, Homicide, Human Worth, Illness and the Family, Individuality, Loneliness, Love, Marital Discord, Memory, Narrative as Method, Parenthood, Power Relations, Sexuality, Society, Suicide, Survival, Time, Women's Health|
Three stories are intertwined in this complex novel; in the end, they become one. In a series of flashbacks, the elderly Iris Chase Griffen writes of her long life. At the outset, newspaper clippings present three tragic deaths from 1945 to 1975: sister, husband, and daughter.
Iris's pretty, younger sister, Laura, died at age 25 when she drove her car off a bridge. Two years later, Iris published Laura's novel, Blind Assassin, to critical acclaim, projecting the author to posthumous fame. Only weeks later, Iris was widowed when her husband drowned. Then many years later, Iris's daughter, Aimée, breaks her neck and dies from the ravages of drug and alcohol abuse. Iris also loses care of her only grandchild, four-year old Sabrina. Iris looks back on the circumstances before and after these deaths.
Growing up in small-town Ontario without a mother, Iris was expected to look after Laura. But the younger girl's guileless intensity inspired exasperation and jealousy, as well as affection. In the 1930s, the sisters managed to hide a young radical, Alex Thomas, in the family attic before he escaped to Spain; they both fell in love. But at age nineteen, Iris is forced to enter a joyless marriage to wealthy Richard Griffen out of obedience to her father who hoped that the union would save his factory. It did not.
Laura is bossed by the politically ambitious Richard and his domineering sister, Winifred. Defiance and maternity allow Iris to carve out her own space within the confines of the social situation. But she is increasingly estranged from the romantic, inscrutable Laura who is eventually sent to an "asylum" where she has an abortion. Upon her release, the sisters reconnect, only to hurt each other with painful revelations (unrevealed here to avoid spoiling the effect for readers; some will have guessed them in advance).
The other two of the three stories stem from Laura's acclaimed novel "Blind Assassin," parts of which are interspersed. On one level, it relates the passionate affair of a refined woman (very like the author) and a political fugitive (very like Alex) who meet in his sordid hiding places. On another level, it is an Ali Baba-esque fairy tale, invented by the lovers, about a cruel society in which child-labor, ritualistic rape, and human sacrifice are routine. The killers are children who have been blinded by their enforced work knotting beautiful rugs.
In this compelling novel, seemingly placid, patrician, mid-twentieth-century America emerges as that very same strangely cruel society in which child-labor, ritualistic rape, and human sacrifice are routine. The "killers" are blinded by love, family, duty, jealousy, vengeance, and other inescapable, socially defined tyrannies that comprise the fabric of life.
How much responsibility can or should Iris bear for those deaths? And is every suicide also an assassination? The surprising answers to these questions emerge slowly to guide this eloquent novel into the realm of mystery.
Vintage Atwood with evocative description, grim irony, dark imagination, and meticulous attention to the nostalgic details of childhood, sib-ship, objects, color, period, and place.
|Publisher||Seal Books/Random House|
|Alternate Publisher||Nan A. Talese/Doubleday|
|Place Published||New York|
|Miscellaneous||The Blind Assassin won the Man Booker Prize and the Dashiel Hammett Award.|
|Annotated by||Duffin, Jacalyn|
|Date of Entry||07/22/04|