Much of the last two decades' metafictional nattering is made to look like so much sandbox-play by Roth's new novel; if the technique of ostensibly real characters imagining they're in books (and vice-versa) has a fatal flaw, it's that neither character nor book usually tackles the unbearable alibis, transgressions, and needs—and the punishingly naked absurdity—that both art and life seem to demand. But that's what Roth, in his most virtuoso effort yet, has done here. Disenfranchisement, re-creation, and the severe guilt of independence are the I-beams of Roth's Zuckerman books—of which this is one—but never has the ceiling vaulted so high, the aim been so nervy. The earlier books were the deathbeds of novelist Zuckerman's father and mother, and it's now the turn of Nathan's dentist brother Henry to die. He does so semi-electively: rendered impotent by heart medication, he goes through with a multiple bypass that fails fatally. Yet the book's very next section, "Judea," finds Henry not dead but in Israel, on the West Bank, in thrall to a right-wing Jewish Kahane-type—and Nathan leaving his own peaceful London writer's existence to try to walk some sense into his kid brother, to get him to return home to his family. How did Henry dead turn into Henry the irrendentist? The same way, it turns out, that it's actually Nathan—in the section called "Gloucestershire"—who's died to restore his potency. Henry's story, then, is one that Nathan wrote; and Nathan's story may be the book we're reading, subject to disputes and interruptions and resentments from those closest to him, lives he has cannibalized for the art-pot. Whether Henry's, Nathan's, or Nathan's new Gentile British wife's, it isn't clear until the end which story is true, which made up—but each section (including an El Al hijacking Nathan is unwilling party to) faces another like a mirror, bringing characters back to themselves, real or not. The presiding theme, never more naked, is Jewishness, complete with Talmudic feints, discontinuous pleating (a lesson learned, one senses, from Roth's admiration for Central European fiction, Kundera and the like)—allowing Roth to write a book of intellectual argument and atavistic rejoinder that someone like Saul Bellow has been lately trying to write, without success. The Israel sections alone are brilliant reportage; in tangled context—of fictional projection, an assuaging of guilt by secular Nathan—they suggest a kind of forced and frightened choral laughter. Certainly Roth's most complex, ambitious work—and one of his best.
Pub Date: Jan. 1, 1986
ISBN: 0679749047
Page Count: 324
Publisher: Farrar, Straus and Giroux
Review Posted Online: Oct. 4, 2011
Kirkus Reviews Issue: Jan. 1, 1986
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
Miller makes Homer pertinent to women facing 21st-century monsters.
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. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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