A beguiling conclusion to an invaluable extended work. If Vidal's novels were used as texts, we'd all be American History...

THE GOLDEN AGE

Though its narrative temperature remains dangerously low, entertainment value is dependably high in this seventh and last of Vidal's delectable Novels of Empire.

The Golden Age follows chronologically Washington, D.C. (1968), and is also closely related to Vidal's Empire, Hollywood, and even (his best novel) Burr. It begins in 1939, when fears of inevitable American involvement in another European war increase the likelihood that incumbent President Franklin Roosevelt's "amoral mastery of world politics" will guarantee him an unprecedented third term. Vidal then summarizes (often rather tediously) the watershed domestic and international political events of the subsequent 15 years, as observed and discussed by a colorful gallery of interconnected fictional characters and historical figures. Former film actress and newspaper publisher Caroline Sanford (Vidal's Clare Booth Luce) manipulates the levels of power (and the several men still under her spell) expertly. FDR charms and deceives all who wander within his orbit. His successor, Harry Truman, shows the steel beneath his unprepossessing exterior. And Caroline's nephew Peter Sanford bridges the worlds of Washington and Hollywood his aunt had conquered, as founder and co-editor of the liberal magazine The American Idea. Prominent cameo appearances are made by such luminaries as FDR's nonpareil advisor Harry Hopkins, William Randolph Hearst, the young Gore Vidal (already, in his 20s, a Washington insider), an imposingly resourceful Eleanor Roosevelt, and underrated novelist Dawn Powell (who memorably disses her rather better-known contemporary thus: "Ernest writes pidgin English, the way he thinks real men talk and write, consummate sissy that he is"). It's all very talky, and creaks and groans noticeably whenever Vidal makes labored connections to earlier books in the series. Still, the talk is wonderfully witty and informed—and climaxes magnificently in a surprise metafictional ending, which takes place on the recent final New Year's Eve of the past century.

A beguiling conclusion to an invaluable extended work. If Vidal's novels were used as texts, we'd all be American History majors.

Pub Date: Sept. 19, 2000

ISBN: 0-385-50075-0

Page Count: 448

Publisher: Doubleday

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 2000

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

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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

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The phrase “tour de force” could have been invented for this audacious novel.

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A LITTLE LIFE

Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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