Deliberate and carefully built, this novel rarely pulls off true theater’s magic of transforming glitter confetti into fairy...

HAG-SEED

Despite its title, this novelization of The Tempest explores the perspective not of Caliban, the enslaved witch’s son, but of Prospero, his magician master.

The latest in The Hogarth Press’ series of Shakespeare retellings is Atwood's (The Heart Goes Last, 2015, etc.) take on tyranny, betrayal, and art. In dystopias such as The Handmaid’s Tale (1985), the feminist master of literary science fiction explored the fate of the oppressed, but here she focuses instead on the power of an artist to reimagine his fate. Her Prospero, the actor/impresario Felix Phillips, has spent too many years ignoring office politics so he can concentrate on “the things that really mattered, such as his perceptive script notes and his cutting-edge lighting schemes and the exact timing of the showers of glitter confetti of which he has made such genius use.” As a result, he’s been ousted as Artistic Director of the Makeshiweg Theatre Festival by his scheming second-in-command, Tony Price (Antonio), and the Chair of the Board, Lonnie Gordon (Gonzalo). Fleeing the scene of his betrayal, Felix changes his name to Mr. Duke and finds refuge in the Literacy Through Literature program at the Fletcher County Correctional Institute, a job he agrees to take only if he’s allowed to direct the inmates in Shakespeare plays. There he plots revenge, which unfolds when Tony, now Minister of Heritage in the Canadian government, along with Lonnie and assorted other dignitaries, makes a photo-op visit to see Felix’s production of—what else?—The Tempest. Once Felix has his enemies isolated in his dominion, he directs his sprites—the inmate actors—to bewitch, drug, and humiliate them, exposing their treachery. The plot’s self-referential layers recall Prospero’s famous “air, thin air” speech about actors. But despite this clever construction and a few genuinely moving moments involving Felix’s dead daughter, Miranda, who died of meningitis as a toddler and whose spirit hovers through the story Ariel-fashion, the bulk of the novel can feel like spending some 300 pages in a high school English class. The inmate-actors seem more like puppets than people; oddly, the most forgettable is the eponymous Caliban-counterpart.

Deliberate and carefully built, this novel rarely pulls off true theater’s magic of transforming glitter confetti into fairy dust.

Pub Date: Oct. 11, 2016

ISBN: 978-0-8041-4129-1

Page Count: 320

Publisher: Hogarth/Crown

Review Posted Online: Aug. 7, 2016

Kirkus Reviews Issue: Sept. 1, 2016

Did you like this book?

No Comments Yet

ANIMAL FARM

A FAIRY STORY

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

Did you like this book?

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

Our Verdict

  • Our Verdict
  • GET IT

Google Rating

  • google rating
  • google rating
  • google rating
  • google rating
  • google rating
  • Kirkus Reviews'
    Best Books Of 2014

  • New York Times Bestseller

  • National Book Award Finalist

  • Pulitzer Prize Winner

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

Did you like this book?

No Comments Yet
more