Lean, intriguing, formally innovative prose that will satisfy some readers while leaving others hungry for meatier plots.

HEATHCLIFF REDUX

AND OTHER STORIES

National Book Award winner Tuck (The Double Life of Liliane, 2015, etc.) turns her attention to Emily Brontë's gothic, psychologically riveting Wuthering Heights in Heathcliff Redux, the novella at the center of this collection.

It's 1963 in rural Virginia, and the unnamed narrator, who's a mother and the wife of a cattle farmer, is rereading Wuthering Heights when she finds herself inexplicably drawn to a morally compromised man named Cliff. Although warned that Cliff is "too good-looking for his own good," "reckless," and untrustworthy, the narrator falls hard. The story of their affair unfolds as collage: Interspersed with passages from Wuthering Heights, snippets of Brontë's biography, and critical commentary on the novel, the narrator reports in short dispassionate sections on the places she and Cliff make love, on Cliff's lies, and on her husband's affair, among other things. Places or things that arise in scenes from Wuthering Heights or the narrator's own story (Rehoboth Beach, cuckoos, Boeuf Bourguignon) are sometimes glossed on the next page, underscoring the extent to which facts are not necessarily truths. Though the narrator is looking back (much of the secondary material was published 30 years after the affair), hindsight doesn't help her understand why she allowed Cliff to become the force of so much destruction. Instead, the human heart remains a mystery, which seems to be the point. This may disappoint readers who expect fiction to explore the reasons for characters' actions or the novella to shed new light on Brontë's novel (or vice versa). The final four stories are both stranger and more conventional. The characters do things surprising (like carrying a dead swan home) and shocking (murdering a teenage girl), and yet the past always catches up with the present, emphasizing the age-old belief—and plot of much fiction—that you can't escape the consequences of your actions.

Lean, intriguing, formally innovative prose that will satisfy some readers while leaving others hungry for meatier plots.

Pub Date: Feb. 4, 2020

ISBN: 978-0-8021-4759-2

Page Count: 224

Publisher: Atlantic Monthly

Review Posted Online: Nov. 10, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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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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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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