Casual readers may be confused by the symbolism and terminology, but lovers of the Victorian gothic genre should enjoy.
A young woman can hear the souls of man-made objects, and they’re not exactly singing happy tunes in McOmber’s Victorian gothic debut.
Jane Silverlake, an isolated young girl who lives with her father at Stoke Morrow, is grateful when Madeline Lee befriends her. When Nathan Ashe joins the girls, both develop deep feelings for the privileged young man. Jane, no ordinary girl, possesses a power that makes her very different from others: Ever since her mother’s death when she was 6 years old, she’s had the ability to hear the souls of man-made objects. Wishing to appear fascinating to her two friends, Jane shares her secret with them. Maddy is frightened, but Nathan is intrigued and convinces Jane to conduct experiments to further explore her power. Then Nathan, a veteran of the Crimean War, joins a secret society led by charismatic scoundrel Ariston Day and vanishes during an evening with Day’s followers, the Fetches. Famed French Inspector Vidocq arrives to look into the disappearance, but Maddy convinces Jane that the two need to conduct their own investigation. A trip to Nathan’s home reveals a secret hiding place that contains, among other things, a picture of Maddy and Jane, a pistol, a journal and a white ape’s finger. Armed with Nathan’s journal and haunting images of a white forest when she touches certain objects belonging to him, Jane uncovers hidden truths about Nathan and herself while confronting Day and the Fetches. Teeming with as many twists and turns and shadowy characters as the narrow Victorian streets in which the tale is partially set, McOmber creates a convoluted supernatural mystery that bombards the senses with rich dialogue and imagery; but the story’s flow is often lost amid lengthy explanations about motive and meaning, and the narrative may ultimately prove difficult for some to follow.
Casual readers may be confused by the symbolism and terminology, but lovers of the Victorian gothic genre should enjoy.Pub Date: Sept. 11, 2012
ISBN: 978-1-4516-6425-6
Page Count: 320
Publisher: N/A
Review Posted Online: Aug. 2, 2012
Kirkus Reviews Issue: Aug. 15, 2012
BOOK REVIEW
BOOK REVIEW
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
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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