A bravura debut.
Christie debuts with a literary exploration of Gutenberg and his printing press, which sparked a technological revolution—as well as the other men involved who were left in history's shadows.
Johann Fust, prosperous merchant of Mainz, Germany, gathered guilders and gold for Gutenberg. Peter Schoeffer, Fust’s ward who was training in Paris as a scribe, was called home to become Gutenberg's apprentice—and watch over the mad genius. An orphaned peasant boy, cousin of Fust’s first wife, Schoeffer resented being drawn away from intellectual circles but came to see his chance to “raise again the…lamp of learning.” Schoeffer’s the primary protagonist, his interior journey from frustration to reconciliation to obsession with Gutenberg’s press deftly chronicled against the panorama of the 15th century—the jealous craft guilds, the iron hand and depraved greed of the church hierarchy, the free towns like Mainz controlled by the machinations of oligarchs called Elders. Schoeffer anchors the story, but Gutenberg flashes—megalomaniacal and duplicitous, with hair “wild and bristling to his shoulders…beard cascad[ing]…glinting here and there like twists of wire,” and “glowing, canine eyes.” Christie masterfully depicts the time and energy required to print the first Bibles, a yearslong process of trial and error, tinkering with ink and type, lines and paper, guilder after guilder spent without return, all against a catastrophic backdrop of plague, the fall of Constantinople, the violent superstitions of the peasantry, and a vested intelligentsia fearing the press would generate “crude words crudely wrought...smut and prophecy, the ranting of anarchists and antichrists.” Bibles, 180 in all, are printed in the strictest secrecy lest the press be seized “as a threat to the scriptoria whose proceeds kept the landed cloisters fat.” While rendered chronologically, with a second narrative thread about Schoeffer’s courtship of his first wife, the narrative is given texture through intermittent chapters in which Schoeffer, years later—worried that Gutenberg’s triumph was more corrupt than holy—relates his story to Trithemius, abbot of Sponheim.
A bravura debut.Pub Date: Sept. 23, 2014
ISBN: 978-0-06-233601-9
Page Count: 336
Publisher: Harper/HarperCollins
Review Posted Online: June 15, 2014
Kirkus Reviews Issue: July 1, 2014
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
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
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