The 18th-century diction is convincing, but too much elephant lore, though engrossing in its own right, slows the pace.

THE ELEPHANT KEEPER

Faux-picaresque debut novel about a boy and his elephant.

In 1766, Tom, a stable boy, is put in charge of two elephants purchased by the squire of an English country estate. Tom quickly learns to communicate with and train these intelligent animals without resorting to cruelty. The meticulously detailed, occasionally tedious first third of the text describes this process, as well as such watershed events in Tom’s life as the death of his father and a tryst with his sweetheart, housemaid Lizzy. Male elephant Timothy’s hormones rage out of control, and he is sold to an earl. Jenny, the female elephant, becomes Tom’s partner in interior monologue as Tom imagines she is conversing with him. When eccentric aristocrat Lord Bidborough purchases Jenny, Tom is admitted to the fantastic park, complete with obelisk, manmade waterfall and Hermit-for-hire, which this gouty noble polymath has created on his vast fiefdom. Lord Bidborough, an animal lover, respects Tom and Jenny and even asks Tom to pen “the History of the Elephant,” whence the pretext for the novel. This idyll is shattered when Mr. Singleton, Bidborough’s son and heir, returns from his dissipated life abroad. An arrogant, nasty roué, Singleton torments Jenny, rapes a housemaid and is about to violate a young village girl when Tom and Jenny intervene. Singleton lashes out at Tom, breaking his nose and permanently disfiguring him; Jenny exacts revenge. Singleton’s murderer is never found, but shortly after the incident, Lord Bidborough, rendered mute and incapacitated by a stroke, dies, and Tom and Jenny are on the road again. Twenty years later, Tom is now Jenny’s keeper at a London “Menagery”/ amusement arcade, where Jenny is being passed off as more than 100 years old by the flimflam zookeeper. From there, Nicholson experiments with several possible resolutions, only to opt for an uplifting but inconclusive ending.

The 18th-century diction is convincing, but too much elephant lore, though engrossing in its own right, slows the pace.

Pub Date: Aug. 1, 2009

ISBN: 978-0-06-165160-1

Page Count: 304

Publisher: Morrow/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 2009

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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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