While shaped with consummate skill, the sun doesn’t often shine in these stories, making an already hefty tome seem that...
A sampler spanning four decades of eminent Irish stylist Higgins’s work, these 18 selections (all but two previously published, some under different titles) offer a multifaceted, melancholic view of Europe, past and present, in which skewed passions figure prominently. The title story, an earlier effort, features a middle-aged husband on holiday with his dotty in-laws who, long frustrated by his corpulent wife’s coldness, resorts to raping the black maid. “Asylum” throws together an Irish workingman who’s lost the will to work and the alcoholic son of a landowner, taking a cure in order to claim his inheritance. The two play winter golf at a frigid seaside resort, while at night the scion tries to instill his vast education into his companion’s thick head. But that head is full of a young chanteuse glimpsed at the local theater, leaving the intellectual talking to himself—which drops him right off the wagon. The aging rake Catchpole, vacationing in Spain in the story bearing his name, recounts endless tales of his gay love life, while eyeing the tight-jeaned prospects from his café table and all but ignoring his wife and infant. More recent writings are even more in the travelogue vein, with the sights of Copenhagen the scene for the fractured romance of “Helsingor Station,” and the mood of Munich as Israeli athletes are killed by terrorists during the ’72 Olympics central to “Black September.”
While shaped with consummate skill, the sun doesn’t often shine in these stories, making an already hefty tome seem that much heavier.Pub Date: March 15, 2002
ISBN: 1-56478-316-2
Page Count: 470
Publisher: Dalkey Archive
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2002
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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