The writing and insight go far to making this a good book, but a less-privileged and more-challenging cast might have made...

A WEEKEND IN NEW YORK

A family’s hopes, fears, loose ends, and fractures emerge during a few days in Manhattan.

Paul Essinger’s family gathers in New York to see him play in the U.S. Open. Parents Bill and Liesel fly in from Austin, where they have been teaching for some 40 years; she has recently published a memoir. Their oldest, Nathan, a tenured Harvard professor, comes with his two children. Paul’s older sister, Susie, an adjunct teacher, brings one of her two kids (the other’s sick) from Hartford, Connecticut. Jean, the baby and unmarried, flies in from London, where she works on TV documentaries. Completing the accomplished tribe are Paul’s partner, Dana, a former model who feels pressured by the visit’s “atmospheric intimacy,” and their son. (Two spouses can’t join the group this year.) Despite many markers of individual success, there’s a thread of dissatisfaction running through these 72 hours. Bill long ago chose family over career advancement. Susie did as well and is diffident about being pregnant again. Paul is unlikely to get past the Open’s second round; he’s mulling retirement. Nathan sees his peers rising into the realms of real power outside academia. Jean isn’t sure she can handle the guilt of wrecking a family in her affair with a married man. Markovits (You Don’t Have to Live Like This, 2015, etc.) offers little plot but well-crafted scenes that explore the chaos and affection, seams and separateness of large family gatherings—the disjointed conversations are especially fine. But his snapshots of Manhattan are too tidy, his characters' problems sometimes rarefied, such as choosing a restaurant or one’s words with the help. His novel recalls more than a few well-made yet not always satisfying Woody Allen films.

The writing and insight go far to making this a good book, but a less-privileged and more-challenging cast might have made it a better one.

Pub Date: Feb. 19, 2019

ISBN: 978-0-571-35008-7

Page Count: 352

Publisher: Faber & Faber

Review Posted Online: Oct. 28, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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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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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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