Ambitious, unpretentious, yet not memorable. There’s just too much here, and Jackson’s only-serviceable prose isn’t up to...
A young woman flees the rural South in a kind of literary Guernica for American life in the ’60s.
The smart kids know enough to flee dying Wattles, Tennessee, observes Dahlia Jean Coker, a 16-year-old coming of age there. Wise Dahlia gets away after a botched robbery at the diner where she works. She latches on to the money the robbers wanted, then teams up with one of the two thieves—young, darkly handsome Cole—who readily splits from domineering ex-con Twitch, the mastermind of the hit. Dahlia and Cole light out in a pink Cadillac, and Dahlia’s initial impression that the car might belong to Elvis serves as the first hint that Jackson (Leavenworth Train, 2001, etc.), a five-time Pulitzer nominee, is working symbolic terrain. Dahlia and Cole will be compared to Bonnie and Clyde, the Younger gang will be invoked as Twitch’s ancestors, and a flood of near-biblical scale will engulf Dahlia and Cole and their pursuers, Twitch and Dahlia’s mother Burma. The observant Dahlia underlines the import of this apocalyptic event, wondering if they’re all part of “a doomed race of Huck Finns goin’ nowhere but crazy . . . .” To Jackson’s credit, he keeps his narrative focused on Twitch and Burma’s hunt for Dahlia and Cole despite a slew of offbeat characters (snake handlers, Freedom Riders, Klansmen, even a refugee from Castro’s Cuba) who fade in and out during the picaresque journey. Can love survive such a world? Twitch suggests that it can’t: “ ‘This ain’t love. It’s fuckin’,’” he tells Burma when they hook up. Dahlia and Cole, doing “better things” by piloting the refugee on a boat to Cuba, suggest that it can.
Ambitious, unpretentious, yet not memorable. There’s just too much here, and Jackson’s only-serviceable prose isn’t up to the epic scale of the work.Pub Date: March 1, 2004
ISBN: 0-7867-1284-8
Page Count: 368
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2004
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
Too much drama at the end detracts from a finely wrought and subtle conundrum.
Ware (In A Dark, Dark Wood, 2015) offers up a classic “paranoid woman” story with a modern twist in this tense, claustrophobic mystery.
Days before departing on a luxury cruise for work, travel journalist Lo Blacklock is the victim of a break-in. Though unharmed, she ends up locked in her own room for several hours before escaping; as a result, she is unable to sleep. By the time she comes onboard the Aurora, Lo is suffering from severe sleep deprivation and possibly even PTSD, so when she hears a big splash from the cabin next door in the middle of the night, “the kind of splash made by a body hitting water,” she can’t prove to security that anything violent has actually occurred. To make matters stranger, there's no record of any passenger traveling in the cabin next to Lo’s, even though Lo herself saw a woman there and even borrowed makeup from her before the first night’s dinner party. Reeling from her own trauma, and faced with proof that she may have been hallucinating, Lo continues to investigate, aided by her ex-boyfriend Ben (who's also writing about the cruise), fighting desperately to find any shred of evidence that she may be right. The cast of characters, their conversations, and the luxurious but confining setting all echo classic Agatha Christie; in fact, the structure of the mystery itself is an old one: a woman insists murder has occurred, everyone else says she’s crazy. But Lo is no wallflower; she is a strong and determined modern heroine who refuses to doubt the evidence of her own instincts. Despite this successful formula, and a whole lot of slowly unraveling tension, the end is somehow unsatisfying. And the newspaper and social media inserts add little depth.
Too much drama at the end detracts from a finely wrought and subtle conundrum.Pub Date: July 19, 2016
ISBN: 978-1-5011-3293-3
Page Count: 352
Publisher: Scout Press/Simon & Schuster
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK TO SCREEN
SEEN & HEARD
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