Rightly or wrongly, Harris (Chocolat, 1999; Five Quarters of the Orange, 2001, etc.) delivers the goods for readers who...
In an ever-so-cozy tale, a woman returns to the small French island of her ancestry to reconnect with her roots and act generally plucky.
Amid descriptions of delicious scenery, quaint customs, and mouthwatering delicacies, the story is told of Madeline (“Mado” to anyone who cares) coming back from Paris to the windswept French island of Le Devin, where her father still lives after her mother’s death. There are two towns: the northern one, Les Salants, is poor, hardscrabble, and full of character, while the southern, La Houssiniere, is rich, arrogant, and touristy. Any guesses where Mado hails from? The ocean is indeed a harsh mistress, and Mado notices right away, after failing to make much headway in reconnecting with her taciturn, mule-headed father, that Les Salants’ formerly gorgeous beach has been mostly washed out to sea. Mado senses a project just crying out for her to organize, and so, in the grand tradition of fictional small towns everywhere, the people of Les Salants leave their grumpiness behind and band together to build a reef that will shelter the beach and, they hope, encourage some of the tourist business away from La Houssiniere. Unfortunately, though, the proprietor of La Houssiniere’s hotel, Les Immorteles, a foxy businessman by the name of Claude Brismand, won’t take the challenge lying down. As the battle rages, Mado has her father, a snooty sister, and a potential romance with an Englishman to keep her occupied as well, so there’s no telling whether the forces of good will be able to hold off the onslaught of the southern villains. It’s all as underwhelming as it sounds, chockablock with stereotypically earthy villagers and picturesque, Travel Channel–like prose.
Rightly or wrongly, Harris (Chocolat, 1999; Five Quarters of the Orange, 2001, etc.) delivers the goods for readers who can’t get enough of this sort of thing.Pub Date: Sept. 16, 2002
ISBN: 0-06-019812-5
Page Count: 368
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2002
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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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