A bold concept, poorly executed by this veteran thriller writer (Blown, 2005, etc.).
FDR recruits a young Jack Kennedy to do some sleuthing in Europe on the eve of World War II.
It’s early 1939. Jack is 21, overshadowed by older brother Joe and racked by an undiagnosed disease, but Roosevelt sees past all that because he intuits that Jack is a nonconformist and risk-taker. The president has decided to run for a third term. What concerns him is a German network steering money to Democratic clubhouses in hopes of electing an isolationist. Jack must find out how it operates; as son of the ambassador to London, he will have all the access he needs. The premise is different enough from Philip Roth’s The Plot Against America to be workable, and Mathews has carefully researched the period, but her portrait of Jack comes up short. She captures the charming ladies’ man, the romantic hero indifferent to death, but there’s little sign of his questing intelligence; Jack’s initial reason for traveling is to research his Harvard senior thesis (eventually his first book, Why England Slept). His fellow travelers on the trans-Atlantic crossing include Diana Playfair, an English femme fatale and Fascist sympathizer, and the White Spider, a psychopathic killer working for Gestapo chief Heydrich. We’ve already seen the Spider knife to death his first two victims, a sign that melodramatic cheap thrills will trump geopolitical intrigue. Jack will fall big time for Diana as they crisscross Europe. They will make furious love, but can she be trusted, especially after Heydrich snaps her up? Jack sends Morse code messages to FDR. He’ll be in plenty of tight spots, though there’s usually backup, and he gets to use his Luger. What hurts Jack most is his discovery that his dad is one of the network’s secret donors; their confrontation gets physical.
A bold concept, poorly executed by this veteran thriller writer (Blown, 2005, etc.).Pub Date: July 12, 2012
ISBN: 978-1-59448-719-4
Page Count: 368
Publisher: Riverhead
Review Posted Online: June 30, 2012
Kirkus Reviews Issue: July 15, 2012
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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