A bit reminiscent of L.P. Hartley’s modern classic The Go-Between but, still, an essentially original and very affecting...

SPIES

Bitter memories of the home front during WWII resurface in this muted yet moving tenth novel from popular British author Frayn (The Copenhagen Papers, 2001, etc.) and playwright (Noises Off, etc.).

In a Proustian prologue, a mysteriously sweet outdoor aroma evokes indistinct memories of its narrator Stephen Wheatley’s youth in a tightly knit suburban “close” during the war years. Returning to his home village, the now elderly Stephen “sees” a series of scenes featuring his young self and his confident, domineering best friend Keith Hayward. “He was the officers corps in our two-man army,” Stephen muses, while recalling the elaborate system of wires and tunnels the boys had constructed between their two houses, and the military games they had played in imitation of the larger conflict ongoing in Europe—culminating in acts of secrecy and surveillance prompted by Keith’s astonishing declaration that “My mother … is a German spy.” Frayn sticks close to Stephen’s timid sensibility, thrown into tormented relief by the boy’s growing suspicion that Mrs. Hayward’s frequent brief absences from home and habit of “visiting” a nearby railway tunnel are undertaken, not out of solidarity with the enemy, but in order to meet with a lover—who is perhaps a “downed” German pilot, or an “old tramp” suspected of being a sexual deviant; or in fact something much less romantic and thrilling. The story is somewhat thinly plotted, and little seems to happen—outside Stephen’s busy imagination, at least—for a distractingly long time. But Frayn holds our attention with sharp economical characterizations of the frail and beautiful Mrs. Hayward, Stephen’s annoyingly ordinary own family, and Keith’s supremely self-confident father, a misogynistic martinet who virtually radiates smiling, perfectly controlled menace. Only a curious overabundance of climactic surprise-twists vitiates the skill with which Stephen’s ordeal of subterfuge and guilt is portrayed.

A bit reminiscent of L.P. Hartley’s modern classic The Go-Between but, still, an essentially original and very affecting tale.

Pub Date: April 3, 2002

ISBN: 0-8050-7058-3

Page Count: 261

Publisher: Henry Holt

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Feb. 1, 2002

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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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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

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