Amorality run riot, but Fleming does an expert job of glossing it over and dressing it up: rousing entertainment.

AFTER HAVANA

Havana, with the Batista regime crumbling, is the setting for Fleming’s well-made sequel (after Ivory Coast, 2002) about love among the ruins.

Pete Deacon may drink too much and think too little, but there's no malice in him. If he ever bothered to articulate a moral imperative, it would take the form of: Don't hurt anyone you don't absolutely have to. In fact, Pete cares about only two things: his trumpet and his woman, except that the beautiful Anita isn't his any longer. After certain disruptive events in Las Vegas (recounted in Ivory Coast), she's been appropriated, in turn, by a mobster and a tycoon: powerful men with aggressive appetites and sufficient mercenaries to guard against frustration. Now, Pete’s in Havana, has been for three years, hiding from an assortment of enemies, yearning for his lost love, and experiencing the seductive if debauched atmosphere of a betrayed Cuba buckling at the knees. He’s changed his name to Sloan (“Deacon was a guy with trouble behind him”); swapped his trumpet for the coronet (“which was almost a trumpet”), and is blowing it hot with a pretty good jazz band at the glitzy Tropicana. And then one night, of all the casinos in town, in walks Anita on the arm of Nick Calloway, the handsome, hard-edged tycoon with a surprising soft spot. It isn’t that he merely covets Anita, he adores her with an intensity matching Pete’s. Thus, a triangle: Anita and Pete, star-crossed in the great tradition, and the Gatsbylike Calloway. When Anita is kidnapped by rebels and hurried off into Fidel’s hills, an ad hoc band of very strange bedfellows forms itself into an ostensible rescue party. And then suddenly the hills are alive with secret agendas.

Amorality run riot, but Fleming does an expert job of glossing it over and dressing it up: rousing entertainment.

Pub Date: Jan. 22, 2004

ISBN: 0-312-30748-9

Page Count: 336

Publisher: Minotaur

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 1, 2003

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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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