Read this for insights about writing, about losing one’s mother, about dealing with a cranky sous-chef and a difficult...
A Boston-area waitress manages debt, grief, medical troubles, and romantic complications as she finishes her novel.
“There are so many things I can’t think about in order to write in the morning,” Casey explains at the opening of King’s (Euphoria, 2014, etc.) latest. The top three are her mother’s recent death, her crushing student loans, and the married poet she recently had a steaming-hot affair with at a writer’s colony. But having seen all but one of her writer friends give up on the dream, 31-year-old Casey is determined to stick it out. After those morning hours at her desk in her teensy garage apartment, she rides her banana bike to work at a restaurant in Harvard Square—a setting the author evokes in delicious detail, recalling Stephanie Danler’s Sweetbitter, though with a lighter touch. Casey has no sooner resolved to forget the infidel poet than a few more writers show up on her romantic radar. She rejects a guy at a party who reveals he’s only written 11 1/2 pages in three years—“That kind of thing is contagious”—to find herself torn between a widowed novelist with two young sons and a guy with an irresistible broken tooth from the novelist's workshop. Casey was one of the top two golfers in the country when she was 14, and the mystery of why she gave up the sport altogether is entangled with the mystery of her estrangement from her father, the latter theme familiar from King’s earlier work. In fact, with its young protagonist, its love triangle, and its focus on literary ambition, this charmingly written coming-of-age story would be an impressive debut novel. But after the originality and impact of Euphoria, it might feel a bit slight.
Read this for insights about writing, about losing one’s mother, about dealing with a cranky sous-chef and a difficult four-top.Pub Date: March 3, 2020
ISBN: 978-0-8021-4853-7
Page Count: 320
Publisher: Grove
Review Posted Online: Sept. 1, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
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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