It’s puzzling what Nothomb’s purpose was with this novel, but it feels like such a hasty job that one isn’t tempted to spend...


In the tradition of novels about intense, artistic female friendships, Nothomb's light-hearted latest features flamboyant characters and copious drinking of champagne.

Nothomb (Hygiene and the Assassin, 2010, etc.) has published more than 20 other novels, which is startling because this one reads like a fledgling effort. The writing feels cursory, and the story doesn’t acquire even the depth needed to be a good farce. The novel (or novella—it’s only 128 pages) is narrated by a writer, also named Amélie Nothomb, with a devotion to drinking bubbly. There’s a pleasant description of her introduction to it—“I looked into the darkest place and I saw, and heard, jewels. Their multiple fragments tinkled with precious gems, with gold and silver”—but after that poetic start, Nothomb’s lyricism seems exhausted. At a reading, the narrator is approached by Pétronille, a sexually ambiguous waif who greatly intrigues her. When she deduces that Pétronille likes to drink, the two quickly develop a friendship, with the older Amélie both revered and mocked by her irreverent wild-child friend. This is a promising setup but nothing interesting—little conflict, seemingly no intimacy—develops between them. And Nothomb’s flat writing doesn’t create any buoyancy for her story. For instance, Amélie goes to London to interview the fashion designer Vivienne Westwood and, after an unhappy experience with her, invites Pétronille to join her. The women visit the British Museum, and Nothomb writes: “We agreed to meet in Mesopotamia at noon. It’s not every day you can schedule a meeting in such a place.” The second sentence dulls the lightness of the first and is characteristic of a novel that seems to state the obvious at every turn. From a skiing trip in the Alps to a crisis where Pétronille resents her own status as a minor author, nothing is rendered with either enough wit or depth to be entertaining.

It’s puzzling what Nothomb’s purpose was with this novel, but it feels like such a hasty job that one isn’t tempted to spend much time figuring it out.

Pub Date: Oct. 6, 2015

ISBN: 978-1-60945-290-2

Page Count: 128

Publisher: Europa Editions

Review Posted Online: July 16, 2015

Kirkus Reviews Issue: Aug. 1, 2015

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

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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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The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.

Pub Date: Sept. 16, 1992

ISBN: 1400031702

Page Count: 592

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 1, 1992

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