If Dawes had followed the conventions of the historical novel, it might have made his book more accessible, but it should be...
An examination of grief and politics in a deftly written novel set in 1980s Jamaica.
Periodically throughout this slim novel, George Ferron Morgan recalls with jaded wit the indignities of being a ghost editorial writer at a second-rate newspaper, working with hacks. The political climate which once leaned left has taken a hard right, instilling a general complacency among the politically disengaged and fueling George’s paranoia as he wonders what punishment will be meted out for his earlier well-known radical activism. Overshadowing his cynicism is his undignified and suspicious death. As if that weren’t enough, his son, Ferron, tortured by grief, annoyance, or his chronic dyspepsia—it’s hard to tell which—is given the task of transporting his father’s body home in the back seat of his Volvo. George’s voice, in sections called "Unpublished notes of George Ferron Morgan," appears between the Ferron-driven chapters in which Ferron, his family, and his father’s friends mourn George and debate the circumstances of his death. The book gets bogged down with Ferron’s dalliances with a trio of women inexplicably willing to put up with his sudden disappearances, dishonesty, and guilt. While the backdrop of Jamaica’s political climate is presumably meant to lend breadth, it is uncomfortably compact, making the novel read like an overlong short story or an underdeveloped historical novel. What rescues the book is Dawes’ poetic ear, as when George recalls his days at Jamaica College with sensory acuity: "I remember...the sense of cold water, which was partly smell and partly touch…the smell of games: linseed oil on cricket bats and the chalky smell of composition balls and then later the smell of leather balls.” A bold surprise occurs late in the book as it switches from prose to a near play-script format, when Ferron returns to an old family home, imagining an encounter with his old man as he sinks into the full spectrum of grief and contemplates ancestral lives passed.
If Dawes had followed the conventions of the historical novel, it might have made his book more accessible, but it should be read if only to savor the author's astonishing prose.Pub Date: April 2, 2019
ISBN: 978-1-61775-710-5
Page Count: 248
Publisher: Akashic
Review Posted Online: Feb. 3, 2019
Kirkus Reviews Issue: Feb. 15, 2019
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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