A novel about friendship, betrayal and the Iowa Writers’ Workshop could have been satisfying in any number of ways, but with...
In Evans’ latest (Suicide’s Girlfriend, 2002, etc.), a friendship that has been dead for 20 years is suddenly exhumed.
When Charlotte Price started at the famous Iowa Writers’ Workshop in 1988, she was thrilled to fall easily into a friendship with the gorgeous and vibrant Esmé Cole. “Female friendships always had been so hard for me, fraught with relentless deconstructions of who liked who better, but this person seemed utterly available!” narrates the older Charlotte. The two women became roommates for a semester while Charlotte’s boyfriend, Will, was away in Italy. Yet their relationship didn’t continue. After Esmé became pregnant and left the workshop with her boyfriend and fellow writing student, Jeremy Fletcher, a disagreeable Southerner with a Confederate flag tattoo, Charlotte finished her degree, married Will, moved into a tenure-track job in Tucson and wrote four novels. Although she finds out later that Esmé also moved to Tucson with Jeremy, the two women’s paths do not cross until Esmé unexpectedly drops in on Charlotte one morning 20 years after they last saw each other. The years have not been kind to Esmé: “A stout, red-faced woman stood on our front steps. Boxy, olive pantsuit. Cropped hair the color of Vaseline.” Esmé’s visit causes a crisis for Charlotte as she looks back on the end of their relationship, scarred by a secret betrayal that still haunts her. When Esmé’s intentions turn out to be less than friendly, Charlotte has to reckon with the consequences of her past behavior and hope for forgiveness. What Esmé ultimately wants from Charlotte is intriguing and dangerous, but it comes too late in the story for it to infuse it with much-needed tension, and the most dynamic characters, Esmé and Jeremy, are pushed into the background through Charlotte’s neurotic, self-indulgent narration. Because the stakes are never high enough, there is no sense of mourning for this dead relationship.
A novel about friendship, betrayal and the Iowa Writers’ Workshop could have been satisfying in any number of ways, but with a floundering plot and tiresome narration, there are too many missed opportunities here.Pub Date: March 3, 2015
ISBN: 978-1-62040-298-6
Page Count: 272
Publisher: Bloomsbury
Review Posted Online: Dec. 20, 2014
Kirkus Reviews Issue: Jan. 1, 2015
PROFILES
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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