Topnotch storytelling; hypervivid history.


Amid the splendor and savagery of 16th-century Mexico, an epic drama unfolds, featuring bloody Uixachtecatl and a colonizing Christ, a lush culture and its civilizing barbarians, an Aztec princess and the ultimate conquistador, Hernán Cortés.

Malintzin is cunning. And she’s right to be, for Sherwood (Vindication, 2003) puts her heroine through incredible ordeals in this sweeping historical novel. Born a blueblood to the Children of the Sun, at nine years old, she’s ripped from her beloved father barely days after his funeral and sold into Mayan slavery. She’d lived large once, feeding on dog and weasel in the shadow of Aztec altars whereon sacrificial victims surrendered their hearts to the stroke of a flint knife; she now eats worms. She befriends Cuy, another slave who has been “beautified” in Mayan fashion: her forehead elongated by flattening boards and her eyes forced to cross. As young women, the pair are enslaved once more, by Spaniards who carry thunder sticks that belch lethal balls, ride monster horses and, to the Native Americans, smell like dogs. The invaders’ ways are bizarre, especially those of their weak and tortured god. As Malintzin insists: “People sacrificed themselves to the gods”—not the other way around. In time, just as he possesses her land and sets out, armor clanging, for a showdown with mighty Moctezuma, Cortés possesses Malintzin. He’s a complex, conflicted figure, drunk on the fact that the conquered mistake him for the god Questzalcoatl but riddled himself with doubt. As Sherwood paints her large-canvas masterpiece, she’s a properly revisionist historian in seeing the proto-imperialist Spaniards as significantly ambiguous heroes; also, she doesn’t romanticize the Aztecs or Mayans—human sacrifice being, after all, a pretty hard sell. Instead, she gives us culture clash in all its realistically burning heat.

Topnotch storytelling; hypervivid history.

Pub Date: April 10, 2006

ISBN: 0-393-05825-5

Page Count: 384

Publisher: Norton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2006

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A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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

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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

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