VanderMeer is a master of literary science fiction, and this may be his best book yet.
VanderMeer (The Strange Bird, 2018, etc.) continues his saga of biotech gone awry and the fearsome world that ensues.
David Bowie had just one dead astronaut, poor Maj. Tom, in his quiver. VanderMeer puts three in the middle of a strange city somewhere on what appears to be a future Earth, a place where foxes read minds and ducks threaten their interlocutors: “I’ll kill you and feast on your entrails,” one duck says, and, on being challenged about his lab-engendered ducky identity, spits back, “You are not a whatever you are.” All very true. In the ruin of the world that the nefarious Company has left behind after its biotech experiments went south, such things are commonplace, and nothing is quite as it seems, although everything dies. Sometimes, indeed, everything dies even as it lives, which explains why those three astronauts, a nicely balanced blend of ethnicities and genders, are able to walk and talk even as their less fortunate iterations lie inert. Says one, Chen, of his semblable, “Keep him alive. He might have value,” an easy task given that one version of Chen has been blown “into salamanders,” as our duck can attest. Other creatures that flow out of the Company’s still-clanking biotech factory have similar fates: They are fodder for the leviathan that awaits in the holding pond outside, for the behemoth that stalks the land. “Bewildered by their own killing,” muses Grayson, one of the three. “Bewildered by so many things. To be dead without ever having lived." Much of the action in VanderMeer’s story is circumstantial, but it provides useful backstory to his previous books Borne and The Strange Bird, delivering, for example, the origin story of the blue fox and emphasizing the madness of a humankind that destroys the natural world only to replace it with things very like what has been destroyed. Or at least that’s their intention, creating instead a hell paved with the results of mad, bad science.
VanderMeer is a master of literary science fiction, and this may be his best book yet.Pub Date: Dec. 3, 2019
ISBN: 978-0-374-27680-5
Page Count: 352
Publisher: MCD/Farrar, Straus and Giroux
Review Posted Online: Sept. 12, 2019
Kirkus Reviews Issue: Oct. 1, 2019
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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
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