With delightful plays of voice and structure, this is literary fiction at an adventurous, experimental high point.

I HOTEL

An overstuffed, multiform swirl of a novel about a decade in the life of San Francisco’s Chinatown and, by extension, the Asian experience in America.

Yamashita (Circle K Cycles, 2001, etc.) blends prose, theater and art into this set of related novellas centered on a shabby residential hotel. The story opens on the Lunar New Year of 1968. Says her narrator, “Now we know the Vietnamese call it Tet, but the Chinese own it: New Year, they call it,” a time in Vietnam as in Chinatown of explosions, bright lights and revolutionary fervor. Vietnam haunts young Paul, who worries about dying there even as he prepares for his father’s funeral; by Chinese reckoning, he is too young to take his place at the head of the family, but not to be swept up into a faraway conflict. Paul take his cues from Chen, a Mao- and Gertrude Stein–quoting collector of postcards, and from alternative journalist Edmund, who covers the foment over whether to establish an ethnic-studies program at the university and declare Chinese New Year a holiday in the local school system. The ’60s shade into the ’70s, and Yamashita’s prose gives way to blocks of play-like dialogue complete with set directions (“Raucous laughter. sound of James Brown: “Like a Sex Machine”), as new characters come onto the stage that is the I Hotel, representing many ethnicities: a Filipino American farm workers’ union activist; a Japanese American organizer who turns a sweatshop into the I-Hotel Cooperative Garment Factory, its machines “whirring with industry and purpose”; a burly Samoan who escapes being busted for illegally fishing by telling a warden, “See this tattoo?…This is my hunting license.” Elements of the picaresque and the satirical play against passages that are almost documentary as the characters struggle to keep the hotel from being gentrified—and to keep the revolution alive in a time when just about everyone seems tired of politics.

With delightful plays of voice and structure, this is literary fiction at an adventurous, experimental high point.

Pub Date: June 1, 2010

ISBN: 978-1-56689-239-1

Page Count: 640

Publisher: Coffee House

Review Posted Online: Nov. 4, 2010

Kirkus Reviews Issue: Nov. 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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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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