In this unusual first novel Smiley, with flawless command of the shaky grandeurs and gritty drudgery which can absorb the equestrian fancy, matches the openended rigors of the discipline with one woman's tragically destructive obsession. Kate Karlsen, owner of 50 horses in the Illinois countryside, trainer hnd instructor, a "failed equestrienne" in the Big Time and a severe convert to Catholicism, manages her family of four children—college dropout Margaret, 17-year-old Peter, 15-year-old John, pre-teen Henry—by inflexible rules: a code of manners for stable management, horsemanship, household and school duties. "Kate felt certain. . . of the loveliness of those rules. . . the nearly sensual pleasure in following them, lashing oneself to them." And husband Axel, from whom Kate has withdrawn in a gesture of shriving asceticism, is still fascinated by this unapproachable, driven woman who loves her children but is blind to their needs and personalities. Through the days of hard, grinding labor (the entire complex is manned only by the children) what did they know of anything besides horses? And did anyone ever ask them if they liked horses? While the family prepares for the shows, the restless adolescents, long suppressed and bewildered by disorienting visions of simple freedoms, are shocked into abortive protest: John, resenting his mother's passionate championing of Peter, as her best training product and given her best mount, resorts to untypical cruelty and neglect of the horses; Margaret encourages a casual flirtation with an older horseman but dreams of ordinary dates; Henry plans to run away. And at the show on the Karlsen complex the family will ride together for the last time—handsome, straight-backed, "all six attesting to the wisdom of Kate's theories and methods." The lives, drawn taut, will snap. John is killed, leaving Axel, Margaret, and Henry, like discarded marionettes, slumped in grief. . . but weeks later Kate and Peter, enslaved forever by Kate's lifelong "tigerish" circling of unattainable perfection, are working on the training field in a "frightening happiness." A devastating probe of a woman sealed within that (to most of us) alien world of the track and paddock; special—but deep-driving.
Pub Date: June 2, 1980
ISBN: 0786202777
Page Count: 301
Publisher: Harper & Row
Review Posted Online: April 11, 2012
Kirkus Reviews Issue: June 1, 1980
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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