It matters little, in the end, whether the book is “true,” being, as it is, exploitative, high-handed, and tedious.

SYLVIA AND TED

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 20, 2010

Kirkus Reviews Issue: March 1, 2001

Did you like this book?

No Comments Yet

Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...

Reader Votes

  • Readers Vote
  • 48

Our Verdict

  • Our Verdict
  • GET IT

  • New York Times Bestseller

  • IndieBound Bestseller

IT ENDS WITH US

Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.

At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.

Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.

Pub Date: Aug. 2, 2016

ISBN: 978-1-5011-1036-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 31, 2016

Kirkus Reviews Issue: June 15, 2016

Did you like this book?

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?

more