An elegantly drawn and engaging world of a sort unknown to most readers—but one they’ll be glad to have visited.

MOUNT PLEASANT

Cameroonian writer Nganang delivers a modern epic, tinged with liberal doses of magical realism, of life in his country’s colonial era.

Mount Pleasant, in the highlands of Yaoundé, is a story-swathed place where the magical and inexplicable can happen. It is the residence in exile, the Palace of All Dreams, of the learned Sultan Njoya, who has just traded one colonial master for another. “I’m like a woman, and the whites are like men,” Njoya laments. “What can I do except obey?” That note of gender shifting is important, for when 9-year-old Sara enters the Sultan’s harem, its sharp-tongued supervisor, Bertha, inexplicably sees in the young girl an incarnation of her late son, Nebu, and immediately reclassifies her as a boy, something that seems to cause no stir even as Sara is increasingly remade into the lost boy: “Yes,” Bertha thinks, “it was up to her to coat this child’s lips with words of love that would replace Nebu’s tragic story.” Getting to that “tragic story” draws the reader into many other stories, funny and sad and improbable, even as we puzzle out why Bertha should be searching for her dead son in the bodies of young girls. In the end, Nganang offers a fine celebration of storytelling along with a thinly veiled critique of colonialism. Under the best of circumstances, Nganang’s story is not easy to follow; it summons a wealth of African history and cultural allusion that most readers will not have. Still, as with García Márquez, the trick is to suspend disbelief and then some and let the narrative sweep away any scruples. Therein lies depth of observation and precise description: recalls Sara, “She’d hear the syllables of her name ricochet off Yaoundé’s seven hills and then roll through the mud of the valley before they were lost in the heart of the rain, in the joyous laughter of the girls her age.”

An elegantly drawn and engaging world of a sort unknown to most readers—but one they’ll be glad to have visited.

Pub Date: April 12, 2016

ISBN: 978-0-374-21385-5

Page Count: 384

Publisher: Farrar, Straus and Giroux

Review Posted Online: Jan. 21, 2016

Kirkus Reviews Issue: Feb. 1, 2016

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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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