Who murdered the philandering choirmaster?
Five days before the scheduled 1914 Hampstead Voices’ Christmas Concert, Lady Emma Fonthill and tenor Paul Seddon find Emma's husband, Sir Aidan, sitting dead at his piano, a tuning fork sticking out of his head. A flashback to two days earlier launches a series of sections structured as musical movements. Once the concert is sold out, Aidan feels emboldened to ask the music society’s dour young treasurer, Cavendish, to write him two blank checks for some “small expenses.” Later, during a visit to his young daughter, Daphne, Aidan places inappropriate hands on her teacher, Hattie Greene. Emma, who’s well aware of her husband’s “peccadillos,” spies on him regularly. Paul meanwhile confronts his sister, Anna, over the affair with Aidan that left her with a child. Composer Roderick Masters is furious that Aidan’s pronounced one of his Christmas pieces rubbish. Ursula Cavendish’s affair with Aidan enrages her husband, Charles. And then there’s colorful blackmailer Tiggie Benson. Aidan’s surprising changes of singing assignments and failure to pay his performers come to a head at the Voices' final rehearsal, making him a nervous wreck and leading to his murder. And what of the music box anonymously delivered to Aidan? DCI Silas Quinn must deal with the breakdown of his heretofore faithful Sgt. Inchball before proceeding to the crime at hand. The case seems straightforward, requiring only a methodical questioning of witnesses. But the murder of one of his men makes the case personal for Quinn.
A crisp and clever whodunit with a juicy gallery of suspects.Pub Date: Aug. 4, 2020
ISBN: 978-0-7278-8955-3
Page Count: 224
Publisher: Severn House
Review Posted Online: May 18, 2020
Kirkus Reviews Issue: June 1, 2020
Categories: HISTORICAL FICTION | HISTORICAL MYSTERY | MYSTERY & DETECTIVE | GENERAL MYSTERY & DETECTIVE
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Miller makes Homer pertinent to women facing 21st-century monsters.
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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
Categories: LITERARY FICTION | HISTORICAL FICTION
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PROFILES
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 30, 2020
Kirkus Reviews Issue: Oct. 15, 2020
Categories: HISTORICAL FICTION | LITERARY FICTION | FANTASY
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