It matters little, in the end, whether the book is “true,” being, as it is, exploitative, high-handed, and tedious.
Yes, that Sylvia and Ted. Tennant returns with a short novel that tries to represent the marriage of Sylvia Plath and Ted Hughes, a hectic union that ended with Plath’s suicide in 1963.
At the time of Plath’s death, Hughes was already living with another woman, Assia Wevill, who later bore him a daughter and, much later, also killed herself—and the daughter. It’s a grisly story, and by now a familiar one, especially to the many Plath devotees who see Hughes (who died in 1998) as nothing short of a murderer. Sylvia and Ted won’t change their minds. “Drawn to the subject partly as a result of her past relationship with Hughes,” Tennant (Emma in Love, 1998, etc.) describes the man with considerable malice: he is a “monstrous tyrant,” a selfish brute who slays deer, molests ant mounds and preys on teenaged girls. With animals, he “kills, and loves to kill”; with women it’s much the same. Tennant begins with Sylvia’s childhood and ends with Assia’s decline, and in between there is very little dialogue or directly-depicted action; the author delivers instead a long series of foggily described “moments”: Sylvia getting dressed, Ted fornicating in the fields, and so on. The story here relies heavily on the reader’s foreknowledge of its major events, and anyone without such information will probably find the whole thing unintelligible. Those hoping for an “inside” look at the Plath-Hughes affair will come away empty-handed: Tennant’s emphasis on crude mythical parallels (Plath as Procne, Hughes as Tereus) is far more developed than her anecdotal reporting, and there are no startling revelations about private identities. The portentous prose grates (we see Sylvia “go forth to meet her doom” on the night she meets Ted), and the occasional unintended humor (as when Ted’s young lover thinks of him as “Jack Palance”) serves to trivialize everyone involved.
It matters little, in the end, whether the book is “true,” being, as it is, exploitative, high-handed, and tedious.Pub Date: May 12, 2001
ISBN: 0-8050-6675-6
Page Count: 192
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2001
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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