Joyful and alive, crackling with wonder.
The luckiest kid in the world gets a shot at appearing in an Orson Welles play—and falls in love, to boot.
It’s a pity that Kaplow appears to be aiming for the grown-up market in this adult outing, because, as a YA author, he has crafted one of the best depictions of male adolescent yearning ever to hit the page—though one that few adolescents are likely to read. It’s 1937, and Richard Samuels is a 17-year-old Jewish kid living in Dullsville, New Jersey. Bright but not too nerdy, with a pretty but somewhat cool-to-the-touch girlfriend, Richard is swimming along the high-school current without a lot effort. Desperate for more, he prowls the libraries and museums of Manhattan, dreaming of poetry, art, and the theater, until one Saturday he spies “a little action down beyond Bryant Park” and goes to see what the fuss is about. It turns out to be the Mercury Theatre troupe mounting their theater’s sign and putting the final touches on their inaugural play: Orson Welles’s modern-dress Julius Caesar, opening the following Thursday. A stroke of luck makes Richard catch the eye of Welles himself, and within minutes Richard has been given a small role in the play, which he has mere hours to learn. Within a couple of days, Richard is in the thick of the final stages of one of the century’s most exciting theatricals and has fallen desperately in love with a woman who has also caught Welles’s eye. It’s all paced at break-neck speed, with Kaplow whipping everyone who’s in the orbit of Welles—that cold-blooded, hot-tempered, and phenomenally gifted wunderkind only five years older than Richard—into a manic fury of creative euphoria and despair. By the time opening night comes around, it’s as though a year has passed, yet this is a tale that reads like the wind.
Joyful and alive, crackling with wonder.Pub Date: Oct. 3, 2003
ISBN: 1-931561-49-4
Page Count: 270
Publisher: MacAdam/Cage
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2003
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
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
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