But maybe Bucky’s nemeses include Bucky himself—a layer of meaning that makes this novel something other than another...

NEMESIS

For those who monitor the growing list of books by Philip Roth, his forthcoming, Nemesis, presents a revelation as startling as the discovery of a planet or the alignment of a new constellation.

The top of the list remains reassuringly familiar: “Zuckerman Books” (those featuring Nathan Zuckerman, Roth’s alter ego), “Roth Books” (another alter ego, “Philip Roth,” in a category that includes fiction and nonfiction alike) and “Kepesh Books” (another serial protagonist who may or may not be an alter ego). But then there is an emergent category: “Nemeses: Short Fiction,” which encompasses four recent novels, including the new one. What this means to the ardent Roth reader is that three works previously considered unrelated—Everyman (2006), Indignation (2008) and The Humbling (2009), formerly scattered at the list’s bottom with some of his earliest efforts as “Other Books,” are now connected. And Nemesis provides the key to that connection. A little longer than the other three, Nemesis could be the darkest novel Roth has written and ranks with the most provocative. It’s a parable of innocence lost in the author’s native Newark, where polio threatens a neighborhood that is already sacrificing young men to World War II. The protagonist is Bucky Cantor, a 23-year-old playground director, who has seen his best friends enlist in the war while he was rejected for poor eyesight. Instead, “Mr. Cantor” (as his charges call him) finds himself facing a more insidious enemy. “No medicine existed to treat the disease and no vaccine to produce immunity…(it) could befall anyone, for no apparent reason,” writes Roth. It arrives without warning, and it changes everything. If anything, it was scarier than cancer or AIDS is now. Narrating the story is one of polio’s victims, though he barely emerges as a character until the novel’s epiphany. Until then, Roth lets the reader wonder how a narrator named only in passing could penetrate the protagonist’s mind and relate a series of incidents that the narrator couldn’t have witnessed. As Bucky’s boys succumb to the disease, temptation lures him from the city to what appears to be a safe oasis, an idyllic summer camp where his girlfriend works. Yet his conscience (already plagued by his 4-F status) pays the price for his escape, an escape that might prove illusory. What is Bucky’s nemesis? Maybe polio. Maybe God, “who made the virus,” who kills children with “lunatic cruelty.” Maybe mortality—death and the decay that precedes it, the ravages of time that distinguish man from God.

But maybe Bucky’s nemeses include Bucky himself—a layer of meaning that makes this novel something other than another retelling of Job and forces the reader to reconsider the previously published “Nemeses” in fresh light. For it is within these short novels that Roth tackles nothing less than the human condition, which finds its nemesis in the mirror.

Pub Date: Oct. 12, 2010

ISBN: 978-0-547-31835-6

Page Count: 304

Publisher: Houghton Mifflin Harcourt

Review Posted Online: July 26, 2010

Kirkus Reviews Issue: Aug. 15, 2010

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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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The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as...

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THE TATTOOIST OF AUSCHWITZ

An unlikely love story set amid the horrors of a Nazi death camp.

Based on real people and events, this debut novel follows Lale Sokolov, a young Slovakian Jew sent to Auschwitz in 1942. There, he assumes the heinous task of tattooing incoming Jewish prisoners with the dehumanizing numbers their SS captors use to identify them. When the Tätowierer, as he is called, meets fellow prisoner Gita Furman, 17, he is immediately smitten. Eventually, the attraction becomes mutual. Lale proves himself an operator, at once cagey and courageous: As the Tätowierer, he is granted special privileges and manages to smuggle food to starving prisoners. Through female prisoners who catalog the belongings confiscated from fellow inmates, Lale gains access to jewels, which he trades to a pair of local villagers for chocolate, medicine, and other items. Meanwhile, despite overwhelming odds, Lale and Gita are able to meet privately from time to time and become lovers. In 1944, just ahead of the arrival of Russian troops, Lale and Gita separately leave the concentration camp and experience harrowingly close calls. Suffice it to say they both survive. To her credit, the author doesn’t flinch from describing the depravity of the SS in Auschwitz and the unimaginable suffering of their victims—no gauzy evasions here, as in Boy in the Striped Pajamas. She also manages to raise, if not really explore, some trickier issues—the guilt of those Jews, like the tattooist, who survived by doing the Nazis’ bidding, in a sense betraying their fellow Jews; and the complicity of those non-Jews, like the Slovaks in Lale’s hometown, who failed to come to the aid of their beleaguered countrymen.

The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as nonfiction. Still, this is a powerful, gut-wrenching tale that is hard to shake off.

Pub Date: Sept. 4, 2018

ISBN: 978-0-06-279715-5

Page Count: 272

Publisher: Harper/HarperCollins

Review Posted Online: July 17, 2018

Kirkus Reviews Issue: Aug. 1, 2018

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