Landis (Normal People Don't Live Like This, 2009), a perceptive writer, has created a kind of scandalous beauty in her tale...

RAINEY ROYAL

In 14 linked stories (one of which won a 2014 O. Henry Prize), Landis shapes a mesmerizing portrait of a teenager in 1970s Greenwich Village.

Rainey Royal’s life is wantonly glamorous, degenerate, sophisticated—a lonely combination for a 14-year-old girl whose mother has run away to an ashram. She lives in the Village with her father, Howard, a renowned jazz musician whose acolytes fill their once-grand town house (chandeliers and Beidermeier chests are periodically sent to Sotheby’s to keep the lights on and the drugs flowing). The acolytes are a nuisance—they rummage through Rainey’s things, use her bed, and the girls sleep with Howard—but it's Gordy, Howard’s best friend and accompanist, who causes Rainey shame and confusion when he sneaks into her room every night to stroke her hair. Howard forces Rainey to take birth control pills, to trim his beard, to make allowances for the stream of strangers, but there are things that strengthen Rainey: her art; her friend Tina, who understands everything; and Saint Catherine of Bologna, a surrogate protector in lieu of a mother. Seemingly on the verge of becoming a victim, Rainey is a predator, too—to the gentler girls at school, to the young men hanging on Howard, and, in the best of the novel’s sections, to a young couple she and Tina follow home and force into their apartment at gunpoint. Once there, they take the kind of revenge only powerless teenage girls can think of. As Rainey gets older, she gets commissions for her art, tapestries (like the novel itself) made from the detritus of a person’s life. Landis takes more risks when Rainey is younger than she does in some of the later stories, which include more of Tina and another girl, Leah, a shift in perspective that makes the novel less intense. 

Landis (Normal People Don't Live Like This, 2009), a perceptive writer, has created a kind of scandalous beauty in her tale of the simultaneously fierce and vulnerable Rainey.

Pub Date: Sept. 9, 2014

ISBN: 978-1-61695-452-9

Page Count: 256

Publisher: Soho

Review Posted Online: July 24, 2014

Kirkus Reviews Issue: Sept. 1, 2014

Did you like this book?

No Comments Yet

Miller makes Homer pertinent to women facing 21st-century monsters.

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2018

  • New York Times Bestseller

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

Did you like this book?

The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as...

Reader Votes

  • Readers Vote
  • 21

Our Verdict

  • Our Verdict
  • GET IT

  • New York Times Bestseller

  • IndieBound Bestseller

THE TATTOOIST OF AUSCHWITZ

An unlikely love story set amid the horrors of a Nazi death camp.

Based on real people and events, this debut novel follows Lale Sokolov, a young Slovakian Jew sent to Auschwitz in 1942. There, he assumes the heinous task of tattooing incoming Jewish prisoners with the dehumanizing numbers their SS captors use to identify them. When the Tätowierer, as he is called, meets fellow prisoner Gita Furman, 17, he is immediately smitten. Eventually, the attraction becomes mutual. Lale proves himself an operator, at once cagey and courageous: As the Tätowierer, he is granted special privileges and manages to smuggle food to starving prisoners. Through female prisoners who catalog the belongings confiscated from fellow inmates, Lale gains access to jewels, which he trades to a pair of local villagers for chocolate, medicine, and other items. Meanwhile, despite overwhelming odds, Lale and Gita are able to meet privately from time to time and become lovers. In 1944, just ahead of the arrival of Russian troops, Lale and Gita separately leave the concentration camp and experience harrowingly close calls. Suffice it to say they both survive. To her credit, the author doesn’t flinch from describing the depravity of the SS in Auschwitz and the unimaginable suffering of their victims—no gauzy evasions here, as in Boy in the Striped Pajamas. She also manages to raise, if not really explore, some trickier issues—the guilt of those Jews, like the tattooist, who survived by doing the Nazis’ bidding, in a sense betraying their fellow Jews; and the complicity of those non-Jews, like the Slovaks in Lale’s hometown, who failed to come to the aid of their beleaguered countrymen.

The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as nonfiction. Still, this is a powerful, gut-wrenching tale that is hard to shake off.

Pub Date: Sept. 4, 2018

ISBN: 978-0-06-279715-5

Page Count: 272

Publisher: Harper/HarperCollins

Review Posted Online: July 17, 2018

Kirkus Reviews Issue: Aug. 1, 2018

Did you like this book?

more