Odell (The View from Delphi, 2004) stirs lyricism and sentiment into a well-researched epic of slavery and emancipation that...
When the daughter of a woman who has overdosed on a potion meant to induce an abortion comes into former slave Gran Gran’s care, she recalls the saga of plantation slaves to whom emancipation eventually came, an exodus for some while others remained rooted to the soil of their captivity.
Young Granada enjoys the relatively privileged life of a house slave with the added perk of being the mistress’s pet, occasionally dressed up in the finery of a deceased daughter whose demise remains shrouded in the whites’ refusal to admit their daughter succumbed to a disease that afflicts slaves. The odd charade of Granada’s special treatment is a sticking point between Master Ben and his laudanum-addicted, unstable wife, who blames her husband for their daughter’s death. Enter Polly Shine, purchased at great expense for her renown as a healer in the hopes that she will save slaves from plagues that ravage the plantation. Shine needs an apprentice and sees something in Granada, despite the girl’s ill-placed affection for her white masters. Granada finds herself exiled from the plantation house, relocated to Polly’s quarters, the plantation hospital. The high-spirited, mysterious and shamanistic Polly is feared and reviled for her strange ways until her undeniable healing powers gain her almost universal acceptance among the field slaves after she cures them of black tongue. But the latitude this earns her, unusual for a slave, is resented by some: the house slaves, a white overseer and Granada, who pines for her former comfort. Polly overcomes Granada’s recalcitrance, cultivating the girl’s vision, a unique perceptiveness that is essential to her becoming a healer. Granada vacillates in her loyalties between her master and his house and Polly, who urges her to explore her origins and who gains, to some extent, Granada’s love and respect, despite the old healer’s acerbic tongue and unorthodox speeches about the coming of freedom. Granada cannot deny the increasing vividness of her dream visions, as well as the pull of her origins. Plantation life is dangerous to body and soul, and Granada finds herself caught in a plot against Polly, torn between betrayal and self-discovery. Will she play Judas to her mentor? Will she ultimately obtain redemption and become a healer?
Odell (The View from Delphi, 2004) stirs lyricism and sentiment into a well-researched epic of slavery and emancipation that will endear itself to the spirituality inclined.Pub Date: Feb. 21, 2012
ISBN: 978-0-385-53467-3
Page Count: 352
Publisher: Doubleday
Review Posted Online: Jan. 4, 2012
Kirkus Reviews Issue: Jan. 15, 2012
BOOK REVIEW
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
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
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