A splendidly lightweight collection whose satiric touch is so deft that it seems to be sending up a genre yet unborn.

A NIGHT IN THE CEMETERY

AND OTHER STORIES OF CRIME & SUSPENSE

Forty-two stories, many new to English-language readers, that reveal not only the range of the Russian master (1860–1904) but what crime stories were like before they became their own genre.

As the brilliant sketch “What You Usually Find in Novels” points out, the 19th-century novel was encrusted with clichés. Not so the crime story, whose rules had yet to be set in stone. So Chekhov is free to explore the frontiers among persons, events and tones not yet established as generic types. The comically, often disastrously unprepossessing heroes of these tales can awaken from a night at the cemetery or a night of horror to realize how vacuous were the bogeymen that frightened them; virtuous souls can take unspeakable actions without quite noticing what they’re up to, and end up dragging even more innocent passersby to their doom; compulsive confessors can bare their darkest secrets without realizing how anticlimactic they are; and the author can repeatedly lay the groundwork for dramatic courtroom scenes and then cut away from them, thumbing his nose at any assumptions about suspense. Chekhov’s lifelong habit of throwing away scenes he’s portentously built up to is nowhere more obvious than in the three longest stories here. “The Swedish Match” and “The Drama at the Hunt,” for example, begin like well-behaved whodunits before tailing off mischievously into regions the writers’ manuals warn you away from. And in the third, “Thieves,” an ordinary man who falls among seducers and robbers shows in the end that he’s even more ordinary than he knows. The translation, by turns stately (the patronymics remain intact) and colloquial, takes some getting used to, but it certainly frees the author from any Victorian overlay.

A splendidly lightweight collection whose satiric touch is so deft that it seems to be sending up a genre yet unborn.

Pub Date: Aug. 14, 2008

ISBN: 978-1-933648-86-6

Page Count: 336

Publisher: Pegasus

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 1, 2008

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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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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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