Deliberately excessive, Wilson’s latest lacks artistic coherence but does offer a feast for music lovers.
Winnie is Richard Wagner’s daughter-in-law; Wolf is Hitler. Their relationship is just one item in this fact/fiction hybrid, an appealing grab bag of impressions of the Bayreuth Festival, the Weimar Republic and much more.
There are three strands in the latest narrative from Wilson (Betjeman, 2006, etc.). The first dips into Wagner’s life while examining his major operas. The second is the relationship of Winnie and Wolf between 1923 and 1939. The third is the narrator’s story. N (no name vouchsafed) starts work as clerical assistant to Siegfried (Fidi) Wagner in Bayreuth in 1924. A young German with musician parents, he is quite bland beside the larger-than-life Fidi and his wife Winnie. Festival director Fidi was a flamboyant homosexual. Fearing scandal, his mother Cosima, Wagner’s widow, arranged his marriage to the teen orphan Winnie, and he surprisingly sired four children before his death in 1930, when Winnie became director. We see her through the eyes of the helplessly smitten N, a not altogether reliable narrator. Winnie is a bundle of contradictions, a fervent Nazi in love with Hitler, but a good-hearted woman who refuses to connect Hitler to his Jew-baiting street thugs. As for Hitler, N first sees him benevolently (he’s marvelous with the Wagner children); the scales fall from his eyes after he meets Helga, his Communist girlfriend. N conjectures the two were briefly lovers and had an unacknowledged love child; once married, he and Helga will adopt her. Wilson revels in contradictions, in Wagner’s work as well as in his protagonists, while celebrating Wagner as “a free creative spirit,” not shackled to any ideology. It’s a measure of the work’s idiosyncrasy that it’s not Wolf and Winnie but Richard and Cosima who, in the dying widow’s memory, enter the Wagnerian Venusberg, while Hitler’s greatest coup involves the set design for the opera Parsifal.
Deliberately excessive, Wilson’s latest lacks artistic coherence but does offer a feast for music lovers.Pub Date: Nov. 18, 2008
ISBN: 978-0-374-29096-2
Page Count: 368
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2008
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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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