Shadows from the Fire

Ryan's (Mask of the Night) tone is more than a bit strident in this polemical look at oppression of females in modern Ireland, and she sacrifices some credibility of plot to sledgehammer her point home. The narrative first foreshadows the futures of three young women in 1969 Ireland, then plunges forward 20 years to show how they have fulfilled or belied their youthful promise. Beautiful Patricia is now the ignored trophy wife of a wealthy, emotionally vacant barrister; Joan, who becomes a partner with Pat's husband, is caught in a stressful, albeit advantageous, marriage to a gifted, ill artist; Sarah is trapped in a vicious cycle of spousal abuse that Pat and Joan try to help her break. As central character Pat struggles--in the novel's most convincing scenes--with her love for another man, her daughter and son are placed in situations that force her into action, though a surprise inheritance is a facile device to ease her plight. But the impact of Ryan's theme of society's wickedness toward women (``What kind of country is this?.... Are we mad or blind? Is the evil bred in the bone or do we learn it?'') is lessened by her heavy-handed depiction of Pat's children, who move about in meandering set pieces, validating her fears about the world. Throughout, Irish idioms add atmospheric tang, but in serving the author's apparent agenda, the narrative, despite its vivid evocation of oppressed lives, fails to realize its potential. (Aug.)