One man’s terrifying story of survival in an Arctic wasteland reverberates profoundly in the life of his distant descendant.

NORTHERNMOST

A writer explores her family’s humble Norwegian roots.

In 1897, Norwegian fisherman Odd Einar Eide sets sail hundreds of miles above the Arctic Circle on a seal hunt. When his companion is slaughtered by a polar bear, Odd Einar must survive alone in the “fine desolation” of ice and snow for two weeks, until he’s rescued by a passing ship. Given up for dead by his wife, Inger, Odd Einar returns home in the midst of his own funeral, forcing the impoverished couple to face the challenge of restoring their already fragile relationship. That task is complicated by the lingering ache from the absence of their daughter, Thea, departed two years earlier for America and silent since that time. Odd Einar’s tale is framed by the story of his descendant Greta Nansen, a freelance journalist living in present-day Minneapolis, who embarks on the project of reclaiming her family’s history as her own marriage of 20 years implodes. Alternating between the “rocky shore of hardened, desperate people living in poverty and gloom” in 19th-century rural Norway and Greta’s life, where, despite her material comfort, loneliness is "the only feeling she had anymore,” Geye (Wintering, 2016, etc.) artfully spans 120 years of the Eide family’s story. With equal skill, he portrays Odd Einar’s dramatic confrontation with implacable nature while exploring the tension between terror and resignation that haunts the involuntary adventurer’s every step in that crisis. The choice to pair this pulsating adventure story with the subdued domestic drama of Greta’s failed marriage and her discovery of the possibility of new love with musician Stig Hjalmarson when she impulsively travels to her ancestral home in the remote village of Hammerfest is not without risk. But Geye maintains an elegant counterpoint between the two narratives so that the novel is equally satisfying whether it’s situated in the past or present.

One man’s terrifying story of survival in an Arctic wasteland reverberates profoundly in the life of his distant descendant.

Pub Date: April 14, 2020

ISBN: 978-0-525-65575-6

Page Count: 352

Publisher: Knopf

Review Posted Online: Jan. 13, 2020

Kirkus Reviews Issue: Feb. 1, 2020

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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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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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