By no means the book it might have been. But Bezmozgis is a potent writer who may yet astonish us all.
A Russian Jewish family travels to America in decades following the Revolution that defined their patriarch’s life, in this grim first novel from the prize-winning Latvian-born author (Natasha and Other Stories, 2004).
The Krasnanskys—retired businessman Samuil, his stoical wife Emma, their married sons Karl and Alec, the latter’s spouses, and a pair of grandsons—make their way to Rome en route to Chicago. But the relative who was to have sponsored them must instead accommodate a black-sheep sibling, and the Krasnanskys decide to try their luck in Canada (“It’s more European than America, and more American than Europe”). The episodic narrative that develops from this compromise encompasses Samuil’s burden of memories, both proud and regretful (he never ceases mourning the disappearance of his brother Reuven, a more idealistic version of Samuil’s pragmatic self); the troublesome exigencies to which plodding Karl and self-absorbed, sensual Alec drive themselves; and the sorrows of Alec’s winsome, sensitive wife Polina, haunted by fallout from a lost love and an unwanted abortion. Bezmozgis creates a fascinating structure: Events occurring in the narrative present are juxtaposed with flashbacks to similar events which echo and illuminate them. But the resulting fullness gives an impression of redundancy and overemphasis, even when crucial distinctions are lucidly made. It all seems more like “the emigrant experience” than this family’s experience of emigration. And yet, the vividness of its characters and several superbly handled scenes, including a Rosh Hashanah pageant at which Polina endures painfully mixed emotions while watching other people’s children perform, and a brutally funny account of a scam involving stolen Russian ikons which climaxes in a chop shop, keep recalling the novel to vivid life. The result is a flawed, fascinating chronicle, reminiscent of another honorable failure about lives stolen, cast away and never fully recovered: Isaac Bashevis Singer’s Shadows on the Hudson (2008).
By no means the book it might have been. But Bezmozgis is a potent writer who may yet astonish us all.Pub Date: March 29, 2011
ISBN: 978-0-374-28140-3
Page Count: 368
Publisher: Farrar, Straus and Giroux
Review Posted Online: April 18, 2011
Kirkus Reviews Issue: May 1, 2011
BOOK REVIEW
BOOK REVIEW
Miller makes Homer pertinent to women facing 21st-century monsters.
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. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
PROFILES
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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