Enough sumptuous prose poetry to sate the most demanding palate, though some readers will feel restless long before the...

THE ICEWEAVER

An ambitious fantasy on situations and themes from The English Patient, transplanted to 1809 New York, yields mixed results.

As the Napoleonic Wars cast their shadow over the young country in the form of an inconvenient trade embargo with nearby Canada and renewed Indian unrest provoked by white men’s quarrels, John Frayne returns to the town of New Forge to reclaim the property his father forfeited when he would not take a loyalty oath. Purchasing the right to feed and clothe a pair of indigents, an elderly family friend and a young mute woman first glimpsed pushing the body of her mother into a hole in the frozen lake, Frayne moves into Bay House and sets about making a family. But families are hard for Frayne, who left his first wife, Hester, when she took a lover, and survived a second wife, Tacha, whom he took while living among the Indians. And tensions mount when he finds Hester still involved with the same man, and their son Tim, ten, full of hate for the father who aches to reclaim him. Instead, Frayne devotes himself to Jennet, the mysterious outcast he has taken in, a woman as damaged as he is. As love blooms between them, Lawrence (The Burning Bride, 1998, etc.) cuts away repeatedly to focus on Frayne’s landlord and enemy, scheming shopkeeper Herod Aldrich, who dreams of unlimited wealth and power, and crippled furniture maker Marius Leclerc, who dreams only of shaking off the nightmarish miracle of his surviving Austerlitz. After a glacially slow beginning, Lawrence goes back to the well of memory to dredge up secret after damning secret about the characters. But she’s no Michael Ondaatje, and her melodramatic climax provides more relief than fulfillment.

Enough sumptuous prose poetry to sate the most demanding palate, though some readers will feel restless long before the seventh course arrives.

Pub Date: July 1, 2000

ISBN: 0-380-97621-8

Page Count: 416

Publisher: Morrow/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 2000

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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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There are unforgettable beauties in this very sexy story.

TELL ME LIES

Passion, friendship, heartbreak, and forgiveness ring true in Lovering's debut, the tale of a young woman's obsession with a man who's "good at being charming."

Long Island native Lucy Albright, starts her freshman year at Baird College in Southern California, intending to study English and journalism and become a travel writer. Stephen DeMarco, an upperclassman, is a political science major who plans to become a lawyer. Soon after they meet, Lucy tells Stephen an intensely personal story about the Unforgivable Thing, a betrayal that turned Lucy against her mother. Stephen pretends to listen to Lucy's painful disclosure, but all his thoughts are about her exposed black bra strap and her nipples pressing against her thin cotton T-shirt. It doesn't take Lucy long to realize Stephen's a "manipulative jerk" and she is "beyond pathetic" in her desire for him, but their lives are now intertwined. Their story takes seven years to unfold, but it's a fast-paced ride through hookups, breakups, and infidelities fueled by alcohol and cocaine and with oodles of sizzling sexual tension. "Lucy was an itch, a song stuck in your head or a movie you need to rewatch or a food you suddenly crave," Stephen says in one of his point-of-view chapters, which alternate with Lucy's. The ending is perfect, as Lucy figures out the dark secret Stephen has kept hidden and learns the difference between lustful addiction and mature love.

There are unforgettable beauties in this very sexy story.

Pub Date: June 12, 2018

ISBN: 978-1-5011-6964-9

Page Count: 352

Publisher: Atria

Review Posted Online: March 20, 2018

Kirkus Reviews Issue: April 1, 2018

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