Miller is in fine form here, mixing an unforgettable cat-and-mouse chase with a moving love story.

NOW WE SHALL BE ENTIRELY FREE

A British cavalry officer fleeing traumatic memories seeks solace on a Scottish island, but his new refuge may not be remote enough to let him escape a dangerous enemy.

When Capt. John Lacroix returns from the Napoleonic wars in Spain to his Somerset estate, he is broken in body and spirit. It is 1809, and the evacuation of retreating British forces from the port of Corunna is a humiliating defeat. “None of this has the look of victory,” says the doctor treating him. As Nell, the housekeeper, tends his wounds, Lacroix slowly heals physically. But he refuses to talk about his battlefield experiences, saying only, “The war was very hard on horses, Nell.” When he receives orders to return to his regiment, the young man decides to flee, embarking on a journey north to the remote Hebrides, where he will find healing and love with the free-thinking Emily Frend. Traveling under an assumed name, Lacroix is unaware that Cpl. Calley and Lt. Medina, two soldiers, are in pursuit with secret orders to kill him. Calley, who identified Lacroix as the officer responsible for an atrocity in a Spanish village, is remorseless in his hunt. By alternating the narrative between Lacroix and his pursuers, Miller (The Crossing, 2017, etc.) effectively ratchets up the tension and suspense. With a less-skilled writer, naming characters after the officers and soldiers charged in the 1968 My Lai massacre in Vietnam could have come across as a ham-fisted approach, but it’s appropriately chilling in this melancholy portrait of war, culpability, and redemption. The luscious prose (“the mud was liquid clay”) adds to the mood, and Miller’s precise historical details (a horn spoon tucked into an apron pocket) feel organic and real; the author keeps his research well hidden. The dazzling, ambiguous ending will fodder plenty of book-club debate.

Miller is in fine form here, mixing an unforgettable cat-and-mouse chase with a moving love story.

Pub Date: Sept. 10, 2019

ISBN: 978-1-60945-543-9

Page Count: 416

Publisher: Europa Editions

Review Posted Online: June 16, 2019

Kirkus Reviews Issue: July 1, 2019

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THE PRINCE OF TIDES

A NOVEL

A flabby, fervid melodrama of a high-strung Southern family from Conroy (The Great Santini, The Lords of Discipline), whose penchant for overwriting once again obscures a genuine talent. Tom Wingo is an unemployed South Carolinian football coach whose internist wife is having an affair with a pompous cardiac man. When he hears that his fierce, beautiful twin sister Savannah, a well-known New York poet, has once again attempted suicide, he escapes his present emasculation by flying north to meet Savannah's comely psychiatrist, Susan Lowenstein. Savannah, it turns out, is catatonic, and before the suicide attempt had completely assumed the identity of a dead friend—the implication being that she couldn't stand being a Wingo anymore. Susan (a shrink with a lot of time on her hands) says to Tom, "Will you stay in New York and tell me all you know?" and he does, for nearly 600 mostly-bloated pages of flashbacks depicting The Family Wingo of swampy Colleton County: a beautiful mother, a brutal shrimper father (the Great Santini alive and kicking), and Tom and Savannah's much-admired older brother, Luke. There are enough traumas here to fall an average-sized mental ward, but the biggie centers around Luke, who uses the skills learned as a Navy SEAL in Vietnam to fight a guerrilla war against the installation of a nuclear power plant in Colleton and is killed by the authorities. It's his death that precipitates the nervous breakdown that costs Tom his job, and Savannah, almost, her life. There may be a barely-glimpsed smaller novel buried in all this succotash (Tom's marriage and life as a football coach), but it's sadly overwhelmed by the book's clumsy central narrative device (flashback ad infinitum) and Conroy's pretentious prose style: ""There are no verdicts to childhood, only consequences, and the bright freight of memory. I speak now of the sun-struck, deeply lived-in days of my past.

Pub Date: Oct. 21, 1986

ISBN: 0553381547

Page Count: 686

Publisher: Houghton Mifflin

Review Posted Online: Oct. 30, 2013

Kirkus Reviews Issue: Sept. 15, 1986

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The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

HOUSE OF LEAVES

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

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