MORVERN CALLAR

How does a do-it-all party girl become a woman of virtue, the next best thing to the Virgin Mary? The answer, savage yet serene, is this seductive debut from Warner, one of a just-arriving group of new Scottish writers. The shock of waking one morning before Christmas to find her man dead on the floor proves less stressful for Morvern Callar, a produce-stacker who lives only for music and the next rave, than the inconvenience of having to deal with his body. She goes to work in her seaside Scottish town, then goes to a club, then an all- night party. But when she finally comes home a few days later, he's still there. So she hauls him into the attic and opens the windows for the winter, availing herself of his CDs and bank account and sending his unpublished novel around as he requested, but passing it off as her own. When warm weather arrives, Morvern has to deal with him again; this time she chops him up and goes on a camping trip to dispose of the pieces. Then, craving a change, she abandons work for a Mediterranean resort, where she spends everything, even a publisher's advance for ``her'' novel. Broke and jobless, she comes home to find her foster dad making out with her best friend- -who has already confessed to having gone wild with Morvern's boyfriend the night before he cut his throat. But Morvern also finds a letter informing her that the boyfriend's ample inheritance has been left to her, so she immediately heads back to the blue skies, warm beaches, and the resort rave scene—where in her splendid isolation she has an epiphany. On her next return home a few years later, much is changed, but then so is she. Morvern is the raw, resilient voice of a generation, and if this not-quite-ironic tale of redemption and Irvine Welsh's Trainspotting are any indication, the Scottish Beats are already strong contenders for world-class literary status. (Author tour)

Pub Date: March 11, 1997

ISBN: 0-385-48741-X

Page Count: 224

Publisher: Anchor

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 1, 1997

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Miller makes Homer pertinent to women facing 21st-century monsters.

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CIRCE

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. 23, 2018

Kirkus Reviews Issue: Feb. 1, 2018

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Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

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WHERE THE CRAWDADS SING

A wild child’s isolated, dirt-poor upbringing in a Southern coastal wilderness fails to shield her from heartbreak or an accusation of murder.

“The Marsh Girl,” “swamp trash”—Catherine “Kya” Clark is a figure of mystery and prejudice in the remote North Carolina coastal community of Barkley Cove in the 1950s and '60s. Abandoned by a mother no longer able to endure her drunken husband’s beatings and then by her four siblings, Kya grows up in the careless, sometimes-savage company of her father, who eventually disappears, too. Alone, virtually or actually, from age 6, Kya learns both to be self-sufficient and to find solace and company in her fertile natural surroundings. Owens (Secrets of the Savanna, 2006, etc.), the accomplished co-author of several nonfiction books on wildlife, is at her best reflecting Kya’s fascination with the birds, insects, dappled light, and shifting tides of the marshes. The girl’s collections of shells and feathers, her communion with the gulls, her exploration of the wetlands are evoked in lyrical phrasing which only occasionally tips into excess. But as the child turns teenager and is befriended by local boy Tate Walker, who teaches her to read, the novel settles into a less magical, more predictable pattern. Interspersed with Kya’s coming-of-age is the 1969 murder investigation arising from the discovery of a man’s body in the marsh. The victim is Chase Andrews, “star quarterback and town hot shot,” who was once Kya’s lover. In the eyes of a pair of semicomic local police officers, Kya will eventually become the chief suspect and must stand trial. By now the novel’s weaknesses have become apparent: the monochromatic characterization (good boy Tate, bad boy Chase) and implausibilities (Kya evolves into a polymath—a published writer, artist, and poet), yet the closing twist is perhaps its most memorable oddity.

Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

Pub Date: Aug. 14, 2018

ISBN: 978-0-7352-1909-0

Page Count: 384

Publisher: Putnam

Review Posted Online: May 15, 2018

Kirkus Reviews Issue: June 1, 2018

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