The novel often evokes the twilight graces of a classic pop ballad, each lyric evoked with care in a cocktail lounge by a...
If Ernest Hemingway had chosen to write about late-20th-century Hollywood while wearing Tennessee Williams’ sunglasses, the result might read very much like this.
McEnroe, the son of Oscar-winning actress Tatum O’Neal and tennis superstar John McEnroe, brings to his first novel a shrewd, melancholy knowledge of celebrity and its discontents. It tracks the descent of Hollywood actress Dorothy White from her charmed, promising youth to dismal, mortifying late-middle age. The Georgia-bred Dorothy is described early on as “a B-movie actress who only briefly experienced any true success, her beauty and her vanilla voice and her appetite for proper living earn[ing] her, almost, infamy.” But she also wanted to be “a good woman. A good wife, and a good mother. And a good grandmother, too.” As detailed as a coroner’s report, but with the delicacy of a romantic elegy, the book spans decades in its description of Dorothy’s best and worst impulses; her penchant for relationships with abusive men, beginning with her more successful movie-star husband, Dale; and, most poignantly, how her addictions to alcohol, tobacco, and drugs abet her physical and emotional decline. The book abounds in rich descriptions of the Southern California landscape, whether of grand Hollywood parties or of a seedy off-track betting parlor in Ventura. Those who know about McEnroe’s family history will find it next-to-impossible not to be haunted while reading by the memory of his actress grandmother, Joanna Moore (1934-1997), with whom Dorothy shares several biographic details. Yet it’s a measure of McEnroe’s promise as a writer that his main character transcends real-life memories to become a vivid, enrapturing personality in her own right. McEnroe’s writing style is felicitously hard-boiled, by turns tender and sardonic, but never less than compassionate toward an ill-starred woman who “never quite figured out how to get out of her own way.”
The novel often evokes the twilight graces of a classic pop ballad, each lyric evoked with care in a cocktail lounge by a soft, sultry voice etched with pain.Pub Date: May 12, 2015
ISBN: 978-1-61902-528-8
Page Count: 256
Publisher: Counterpoint
Review Posted Online: March 31, 2015
Kirkus Reviews Issue: April 15, 2015
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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