The bare bones here could have become nothing more than a twentysomething melodrama, but McKinnon brings to it the...
A self-consciously literary but perceptive and well-paced first outing about the relationships among a handful of self-absorbed East Village hipsters.
Dreaming of the day her work will be at MoMA, Becky, an ambitious and talented collagist, prepares for her first solo show in her apartment off Avenue A. On hand are Hugh, an old flame visiting from San Francisco; Dahlia, a sometime dancer and full-time rich kid, currently Becky’s best friend; and, Max, a vain and seductive actor, invited by Dahlia despite Becky’s protests. Dahlia has decided that Becky’s opening is an opportunity to demonstrate to one other person, the wildly dramatic femme fatale Callie, that the four of them—each at one time involved with, in love with, betrayed by, and/or obsessed with Callie—have moved on and are better off without her. Leading up to the opening, McKinnon recalls the group’s past, then proceeds in present time as Callie pursues Becky’s friendship and exploits her weaknesses; Callie cheats on Hugh with Max; Callie seduces Dahlia, then rejects her, then tells Becky it was her she wanted all along. Initially intrusive, McKinnon’s arty prose style—no quotes for dialogue, no paragraph breaks between speakers, adjectival constructs like “speechimpedimented”—is ultimately well suited to the exploration of self-deception and self-justification. In the climactic scene, Callie, finally onstage, discovers that Becky has turned the most vulnerable moment of her past into art. In a whiplash-fast reinterpretation, we see that emotionally manipulative Callie (her combined suicide attempt/art vandalism is masterful) has been outmaneuvered by the heretofore apparently put-upon Becky, revealed now as a (to the author’s credit, still-sympathetic) monster of ambition.
The bare bones here could have become nothing more than a twentysomething melodrama, but McKinnon brings to it the breathtaking, self-important, urgency of youth, along with insight into the mind of the hungry artist. A gripping, revealing, entertaining debut.Pub Date: June 1, 2001
ISBN: 0-312-29058-6
Page Count: 176
Publisher: Picador
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2002
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
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
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