A fractured experiment in multiformat storytelling that reads like a vanity project.
The pretty-boy heir to a junkyard empire lands himself in high-society rehab after plunging off the George Washington Bridge.
When is a novelization not a novelization? When it’s a disjointed, tangentially interesting book produced “in tandem” with an indie film written, produced and directed by former Wall Street financier and author Klass (Man Overboard, 2006). The book will be released simultaneously with a romantic comedy starring Robert Vaughan, Dick Cavett, Christopher Lloyd and a host of veterans from Seinfeld and various daytime soaps. Plotwise, the book follows the film, centering on Daniel Topler, a wealthy, brilliant med student whose addiction to drugs and his own line of bullshit sends him teetering off the GWB. Mouthing off to the judge lands him in a silver-spoon rehab clinic where Daniel finds himself under the care of visiting physician Dr. Jacob Q. Bernstein. Daniel is full of quips, self-deprecating humor and cutting insights, none of which hold water with the troubled Bernstein. “Please stop,” Bernstein says. “I don’t believe you. You don’t have to defend yourself. I’m not attacking. You possess superior verbal abilities. But they’re not helping you. You use language as a weapon and a shield. But your only war is inside of you where words can’t help.” Interestingly, Klass shies away from his Good Will Hunting setup and forces Daniel to attend Bernstein’s men’s group, where he meets men of far greater character and accomplishments for whom growing old is a harsh mirror. There’s a good story hiding in here, including a risky romance between Daniel and Bernstein’s lovely daughter Laura, not to mention Ally, a funny fellow inmate who becomes obsessed with the quick-witted lunatic. Unfortunately, the main story is complicated by numerous superfluous plots about Daniel’s family and his drug buddies.
A fractured experiment in multiformat storytelling that reads like a vanity project.Pub Date: Oct. 1, 2012
ISBN: 978-1-61145-780-3
Page Count: 304
Publisher: Arcade
Review Posted Online: Sept. 15, 2012
Kirkus Reviews Issue: Oct. 1, 2012
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
PROFILES
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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