Sarah Coolidge at The Quarterly Conversation:
Cristina Rivera Garza’s The Iliac Crest is a novel riddled with holes, disappearances that have the effect of warping and obscuring the world its reader inhabits. If this book were to have a single guiding principle, it might be these words: “Disappearance is contagious. Everyone knows this.” The narrator’s confidence in this fact is a bit alarming, and may come as news to the reader. Is disappearance a physical illness and this book some kind of existential science fiction treatise? Well, yes and no.
It’s hard to assert definitively just what this book is, although what is clear is that, in Rivera Garza’s world, disappearances are not unconnected—they propagate through a chain reaction, through physical contact, as the narrator goes on to explain almost scientifically, as if we were dealing with an outbreak of the flu. In fact, disappearance in this book is often referred to in medical terms, as an “epidemic,” or else in political terms, as a “conspiracy.” Either way, the fact is that these disappearances are all connected, whether by microscopic bacteria, by the secret crimes committed by a police state, or by some other insidious means.
But what, exactly, does it mean to disappear in Cristina Rivera Garza’s novel? Disappearances occur in multiple forms, both as seemingly passive actions—a memory or piece of information the narrator has forgotten or failed to mention; a made-up language that has not been deciphered for us—and active ones—the deliberate silencing of women with morphine; mysterious cover-ups; a stolen manuscript; and of course death.
more here.

Yet it was Hulu’s television adaptation of Margaret Atwood’s The Handmaid’s Tale that jangled the nerves most vividly and to such startling effect. Set in the near future, it imagined Gilead: an authoritarian mutation of the United States, in which the constitutional apparatus has been forcibly dismantled and replaced by the patriarchal rule of “Sons of Jacob”, stripping women of all rights and enslaving those who remained fertile as handmaids, serially raped in a pseudo-biblical “ceremony” to provide the childless governing caste with progeny.
The Handmaid’s Tale was ostensibly televisual fiction. Yet in its uncompromising exploration of fear and power and its abuse, it also captured the lightning of the moment in a bottle of dystopian genius. It was nothing short of mesmeric, all the more so on repeated viewings. When the series was ordered in April 2016, Trump was the frontrunner to win the Republican nomination but not quite the presumptive candidate. It was still orthodox to assert that Hillary Clinton would trounce him in the election itself. His unapologetic misogyny had been perfectly clear at the first Republican contenders’ debate in August 2015, in which he sparred with the moderator, Megyn Kelly, and insulted Rosie O’Donnell. But the notorious Access Hollywood tape – “grab them by the pussy” – did not become public until October 2016, by which stage The Handmaid’s Tale was already in production. Yet, through luck, intuition or a combination of the two, the series became a disturbing text for our times. Produced by Atwood, author of the original novel, and Elisabeth Moss, who played the lead character, June/Offred, it did more than a thousand news bulletins to capture all that was most toxic about the new populist right and the shredding of constitutional norms.
More here.