Ausubel has a gift of language so rich that even the most mundane events are invested with poetry, and many of her...
Lyrical stories arranged around themes of birth, gestation, conception and love—yes, in that order.
“Poppyseed,” from the section entitled Birth, presents a dual narrative in which a father gives us a relatively objective perspective and a mother a far more subjective one on their severely incapacitated daughter, Poppy. A doctor has proposed using Poppy as a surgical experiment, and his puffed-up view of himself reduces her status to that of a laboratory animal, in contrast to the heartbreaking surge of love the parents experience. “Chest of Drawers” takes us into the realm of the surreal, for here, the husband of a pregnant woman does indeed find little drawers growing in his chest, and in them, he begins to carry small items (such as his wife’s lipstick) as well as small dolls that distortedly mirror his wife’s condition. In “Atria,” Hazel Whiting loses her virginity to Johnny, a clerk at the 7-Eleven, and shortly thereafter is raped by another man. When she becomes pregnant, her status increases when people believe she’s carrying the child of a rapist even though Johnny is the father. Buck, a girl in “Catch and Release,” is a talented athlete who wants to grow up to be a baseball player. Actually named after first lady Mamie Eisenhower, Buck loves her nickname but never discovers its sordid origin—when her wayward father, Pops, found out Buck’s mother was pregnant with her, he contemptuously threw a dollar bill on the bed, calling out “This is my contribution! Call that baby Buck, ’cause that’s all he’s worth!’ "
Ausubel has a gift of language so rich that even the most mundane events are invested with poetry, and many of her characters are in need of all the poetry they can muster.Pub Date: May 2, 2013
ISBN: 978-1-59448-795-8
Page Count: 208
Publisher: Riverhead
Review Posted Online: Feb. 9, 2013
Kirkus Reviews Issue: March 1, 2013
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
PROFILES
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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