Another ambitious change of pace from talented and visionary Egan, who reinvents the novel for the 21st century while...

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A VISIT FROM THE GOON SQUAD

“Time’s a goon,” as the action moves from the late 1970s to the early 2020s while the characters wonder what happened to their youthful selves and ideals.

Egan (The Keep, 2006, etc.) takes the music business as a case in point for society’s monumental shift from the analog to the digital age. Record-company executive Bennie Salazar and his former bandmates from the Flaming Dildos form one locus of action; another is Bennie’s former assistant Sasha, a compulsive thief club-hopping in Manhattan when we meet her as the novel opens, a mother of two living out West in the desert as it closes a decade and a half later with an update on the man she picked up and robbed in the first chapter. It can be alienating when a narrative bounces from character to character, emphasizing interconnections rather than developing a continuous story line, but Egan conveys personality so swiftly and with such empathy that we remain engaged. By the time the novel arrives at the year “202-” in a bold section narrated by Sasha’s 12-year-old daughter Alison, readers are ready to see the poetry and pathos in the small nuggets of information Alison arranges like a PowerPoint presentation. In the closing chapter, Bennie hires young dad Alex to find 50 “parrots” (paid touts masquerading as fans) to create “authentic” word of mouth for a concert. This new kind of viral marketing is aimed at “pointers,” toddlers now able to shop for themselves thanks to “kiddie handsets”; the preference of young adults for texting over talking is another creepily plausible element of Egan’s near-future. Yet she is not a conventional dystopian novelist; distinctions between the virtual and the real may be breaking down in this world, but her characters have recognizable emotions and convictions, which is why their compromises and uncertainties continue to move us.

Another ambitious change of pace from talented and visionary Egan, who reinvents the novel for the 21st century while affirming its historic values.

Pub Date: June 8, 2010

ISBN: 978-0-307-59283-5

Page Count: 288

Publisher: Knopf

Review Posted Online: Dec. 22, 2010

Kirkus Reviews Issue: April 15, 2010

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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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Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

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WHERE THE CRAWDADS SING

A wild child’s isolated, dirt-poor upbringing in a Southern coastal wilderness fails to shield her from heartbreak or an accusation of murder.

“The Marsh Girl,” “swamp trash”—Catherine “Kya” Clark is a figure of mystery and prejudice in the remote North Carolina coastal community of Barkley Cove in the 1950s and '60s. Abandoned by a mother no longer able to endure her drunken husband’s beatings and then by her four siblings, Kya grows up in the careless, sometimes-savage company of her father, who eventually disappears, too. Alone, virtually or actually, from age 6, Kya learns both to be self-sufficient and to find solace and company in her fertile natural surroundings. Owens (Secrets of the Savanna, 2006, etc.), the accomplished co-author of several nonfiction books on wildlife, is at her best reflecting Kya’s fascination with the birds, insects, dappled light, and shifting tides of the marshes. The girl’s collections of shells and feathers, her communion with the gulls, her exploration of the wetlands are evoked in lyrical phrasing which only occasionally tips into excess. But as the child turns teenager and is befriended by local boy Tate Walker, who teaches her to read, the novel settles into a less magical, more predictable pattern. Interspersed with Kya’s coming-of-age is the 1969 murder investigation arising from the discovery of a man’s body in the marsh. The victim is Chase Andrews, “star quarterback and town hot shot,” who was once Kya’s lover. In the eyes of a pair of semicomic local police officers, Kya will eventually become the chief suspect and must stand trial. By now the novel’s weaknesses have become apparent: the monochromatic characterization (good boy Tate, bad boy Chase) and implausibilities (Kya evolves into a polymath—a published writer, artist, and poet), yet the closing twist is perhaps its most memorable oddity.

Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

Pub Date: Aug. 14, 2018

ISBN: 978-0-7352-1909-0

Page Count: 384

Publisher: Putnam

Review Posted Online: May 15, 2018

Kirkus Reviews Issue: June 1, 2018

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