Among all the recent fictions about the war, Cleave’s miniseries of a novel is a surprising standout, with irresistibly...

EVERYONE BRAVE IS FORGIVEN

Privileged young Londoners lose their sense of entitlement and their moral innocence in Cleave’s (Gold, 2012, etc.) romantic but very adult World War II love story.

In 1939, Mary North and her friend Hilda are cosseted upper-class girls used to servants and tea at the Ritz. But as soon as England declares war, 18-year-old Mary quits finishing school and signs up to serve through the War Office. Sent to an elementary school, she is disappointed when practically her first task is to help evacuate her students from London. Looking for another teaching position, she meets 23-year-old Tom Shaw, who runs the school district. Melancholy iconoclast Tom does not enlist, believing “someone must stay behind who understands how to put it all back together,” but his more debonair roommate, Alistair, a conservator at the Tate, does join up. At first Alistair’s brutal experiences on the battlefront offer a stark contrast to the ease of the Londoners’ lives. Mary relishes teaching misfit children who remain in London, forming a particular bond with 10-year-old Zachary, a black American—the era’s racial prejudice becomes an undercurrent throughout the novel. Mary and Tom fall into heady love. Hilda remains a boy-crazy snob. When Alistair comes home on leave, the four spend an evening together. Hilda is attracted to Alistair, who is drawn to Mary, who is attracted back but does her best to remain loyal to Tom, who secretly tries to enlist but is turned down. Alistair ends up on Malta facing dire conditions under the Axis blockade. Meanwhile, the Blitz hits London. Suddenly no one is safe, and all face harsh realities. While Mary, Tom, and Alistair are all deeply complicated beneath their bantering wit, it is secondary character Hilda who grabs the reader’s heart as she evolves from Noel Coward joke into full-fledged human being.

Among all the recent fictions about the war, Cleave’s miniseries of a novel is a surprising standout, with irresistibly engaging characters who sharply illuminate issues of class, race, and wartime morality.

Pub Date: May 3, 2016

ISBN: 978-1-5011-2437-2

Page Count: 608

Publisher: Simon & Schuster

Review Posted Online: Feb. 18, 2016

Kirkus Reviews Issue: March 1, 2016

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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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Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

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WHERE THE CRAWDADS SING

A wild child’s isolated, dirt-poor upbringing in a Southern coastal wilderness fails to shield her from heartbreak or an accusation of murder.

“The Marsh Girl,” “swamp trash”—Catherine “Kya” Clark is a figure of mystery and prejudice in the remote North Carolina coastal community of Barkley Cove in the 1950s and '60s. Abandoned by a mother no longer able to endure her drunken husband’s beatings and then by her four siblings, Kya grows up in the careless, sometimes-savage company of her father, who eventually disappears, too. Alone, virtually or actually, from age 6, Kya learns both to be self-sufficient and to find solace and company in her fertile natural surroundings. Owens (Secrets of the Savanna, 2006, etc.), the accomplished co-author of several nonfiction books on wildlife, is at her best reflecting Kya’s fascination with the birds, insects, dappled light, and shifting tides of the marshes. The girl’s collections of shells and feathers, her communion with the gulls, her exploration of the wetlands are evoked in lyrical phrasing which only occasionally tips into excess. But as the child turns teenager and is befriended by local boy Tate Walker, who teaches her to read, the novel settles into a less magical, more predictable pattern. Interspersed with Kya’s coming-of-age is the 1969 murder investigation arising from the discovery of a man’s body in the marsh. The victim is Chase Andrews, “star quarterback and town hot shot,” who was once Kya’s lover. In the eyes of a pair of semicomic local police officers, Kya will eventually become the chief suspect and must stand trial. By now the novel’s weaknesses have become apparent: the monochromatic characterization (good boy Tate, bad boy Chase) and implausibilities (Kya evolves into a polymath—a published writer, artist, and poet), yet the closing twist is perhaps its most memorable oddity.

Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

Pub Date: Aug. 14, 2018

ISBN: 978-0-7352-1909-0

Page Count: 384

Publisher: Putnam

Review Posted Online: May 15, 2018

Kirkus Reviews Issue: June 1, 2018

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