A thrilling and provocative portrait of a powerful woman set against a sweeping panorama of Iranian history.

SONG OF A CAPTIVE BIRD

Unclean, unholy, immodest, disruptive—Forugh Farrokhzad endures the scorn of her family and society to become one of Iran’s most prominent poets and a film director in this debut novel based on her real life.

From the rise of the repressive Pahlavi dynasty to the 1953 coup bringing Mosaddegh to power, martial law in 1979 , and the beginnings of revolution, Darznik (The Good Daughter: A Memoir of My Mother's Hidden Life, 2011) weaves remnants of Forugh’s real poetry through this bewitching tale of a woman transcending the strictures of a patriarchal society. There is no shortage of villains, including her domineering and abusive father, who insisted that even his children call him The Colonel. The novel opens with a troubling scene, as Forugh’s mother ushers her to the shabby outskirts of Tehran to determine whether she is still a virgin. The virginity test comes like a rape to Forugh, leaving her shaken and setting the stage for disaster. Constantly seeking a way to play on the same field as men, Forugh discovers poetry, and her first poem commands even The Colonel’s attention. Once her passion begins to show, however, his support abruptly ends, and her parents arrange a marriage to Parviz, who turns cold on their wedding night, rejecting her after seeing no blood on their sheets. A year later, stifled by her mother-in-law and disappointed in her husband, Forugh sneaks off to Tehran to find a publisher for her poetry, Nasser Khodayar, who becomes her lover as well. Recklessly publishing her first poem, “Sin,” under her own name, Forugh sets in motion a cascade of events that will lead her to become an independent artist. But the path is long and twists through a mental asylum and divorce as well as the highs of love and showing her first documentary and the lows of social humiliations and prison.

A thrilling and provocative portrait of a powerful woman set against a sweeping panorama of Iranian history.

Pub Date: Feb. 13, 2018

ISBN: 978-0-399-18231-0

Page Count: 416

Publisher: Ballantine

Review Posted Online: Nov. 28, 2017

Kirkus Reviews Issue: Dec. 15, 2017

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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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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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