Calling her novel a work of metahistoriographic fiction, Caple has concocted an atmospheric, sometimes-soaring, but...
Who was Calamity Jane? A liquor-loving wild woman? A dime-novel invention? The daughter she abandoned sets out to discover the truth in an impressionistic portrait of frontier days.
Forget Doris Day singing “The Deadwood Stage.” Canadian poet and novelist Caple’s (Mackerel Sky, 2004, etc.) patchwork depiction of the iconic female scout is darker and less definitive than Hollywood’s. Born Martha Canary, perhaps the child of poor farmers, or a madam, or maybe even raised by wolves, the mythic figure of Calamity Jane is surrounded by imprecision. All that young Miette knows is that Calamity Jane was the mother who abandoned her, and now, on the death of the kindly priest who raised her, Miette has obeyed his dying wish and begun a journey to find her. Martha’s and Miette’s chapters alternate in a dreamy, often melancholic tale of the American West, a place of stupendous beauty and abundance, now in the throes of profound change because of settlement, the Civil War and suppression of the Native American population. Miette’s harsh journey, threaded with visions, ghosts and glimpses of violence as well as rumors of her mother’s life and location, concludes with an implausible letter and a tender death scene.
Calling her novel a work of metahistoriographic fiction, Caple has concocted an atmospheric, sometimes-soaring, but increasingly uneven amalgam of research and lyrical prose. Only fitfully successful.Pub Date: Sept. 17, 2013
ISBN: 978-1-62040-185-9
Page Count: 240
Publisher: Bloomsbury
Review Posted Online: Aug. 16, 2013
Kirkus Reviews Issue: Sept. 1, 2013
BOOK REVIEW
BOOK REVIEW
An uneven mix of Dracula and theater lore but a thoughtful exploration of the tangled nature of desire and commitment.
Better known as the author of Dracula, Bram Stoker in his day job as general manager of London’s Lyceum Theatre is the focus of Irish writer O’Connor’s atmospheric new novel.
Mind you, there are plenty of nods to his famous horror story, from a ghost in the theater’s attic named Mina to a scene-painter named Jonathan Harker, plus the fact that the dreaded vampire bears a more than passing resemblance to Stoker’s mercurial boss, legendary actor Henry Irving. Harker turns out to be a woman, a twist that suits the seething homoerotic currents between Stoker and Irving, who can also be found entwined in the naked arms of co-star Ellen Terry. Terry’s voice as recorded in 1906—funny, bitchy, extremely shrewd about her acting partner’s gifts and limitations—offers a welcome counterpoint to the sometimes overly dense third-person narrative of Stoker’s tenure at the Lyceum and on tour in the late 1870s and '80s, grappling with Irving’s neuroses while striving to snatch some time for his own writing. This is a tougher, colder work than Ghost Light (2011), O’Connor’s previous fictional excursion into theatrical lives, and that novel’s portrait of actor Molly Allgood’s love affair with playwright John Synge was gentler than this one of Stoker’s thorny relationship with Irving, a toxic blend of need, rage, resentment, and profound love. Still, the men’s bond is as moving and more unsettling, proof that, as Stoker later tells Harker, “Love is not a matter of who puts what where but of wanting only goodness and respectful kindliness for the loved one.” Irving seems less deserving of such kindness than Stoker’s assertive wife, Flo, who makes sure he gets copyright protection for the vampire story his boss cruelly dismisses as “filth and tedious rubbish from first to last.” Flo’s tender letter to Terry after Stoker’s death closes the novel, with another affirmation that “There are many kinds of love. I know that. He did, too.”
An uneven mix of Dracula and theater lore but a thoughtful exploration of the tangled nature of desire and commitment.Pub Date: April 21, 2020
ISBN: 978-1-60945-593-4
Page Count: 400
Publisher: Europa Editions
Review Posted Online: March 1, 2020
Kirkus Reviews Issue: March 15, 2020
BOOK REVIEW
BOOK REVIEW
A captivating story of a complicated woman blazing new trails.
One of the most beautiful women ever to grace the silver screen, Hedy Lamarr also designed a secret weapon against Nazi Germany.
In her latest portrayal of a lesser-known woman scientist, Benedict (The Other Einstein, 2016, etc.) spins the tale of Lamarr, born Hedwig Kiesler, from her late teens in Austria through her success in Hollywood. Born to Jewish parents in a posh Vienna neighborhood, Hedy endures her mother’s criticism while following her father’s encouragement to pursue both science and acting. Although she finds early success with the risqué Ecstasy, the film’s nudity haunts her efforts to be taken seriously. Just as she achieves the respect of her peers as a stage actress, Hedy catches the eye of Fritz Mandl, a wealthy, charismatic older man who owns several munitions factories. Rumored to have mistreated his former mistresses and to be in league with the fascist (albeit anti-Nazi) Austrian Christian Social Party, Fritz determines to wine, dine, and wed Hedy. Once married, however, Hedy finds herself virtually imprisoned and often abused by her jealous husband. Yet Hedy proves invaluable to Fritz when she begins to gather secret information from their well-connected, politically ambitious house guests. After all, who would suspect such a beautiful woman of understanding military secrets? Yet as Germany and Italy begin to join forces against Austria, Hedy discovers just how mercenary Fritz can be. A daring escape leads Hedy to America, where she vows never to be under another man’s thumb. Once out of Fritz’s reach, Hedy not only returns to acting, but also embarks on a new career as an inventor. Remembering the sensitive information carelessly revealed at Vienna dinner parties, she develops a brilliant radio-communication device. But will the American Navy accept such a weapon from a woman?
A captivating story of a complicated woman blazing new trails.Pub Date: Jan. 15, 2019
ISBN: 978-1-4926-6686-8
Page Count: 272
Publisher: Sourcebooks Landmark
Review Posted Online: Oct. 27, 2018
Kirkus Reviews Issue: Nov. 15, 2018
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