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THE LAZARUS CHILD

This second novel (but first US publication) by former London advertising/p.r. man Mawson combines an endangered-child melodrama with a quirky collective-unconscious tale. Even before the accident, the Heywoods were not a happy family. Jack, president of a failing air-charter business in Cambridge, was recently kicked out of the house for having slept with his secretary. He’s been sleeping on the couch at his office for a while now when an accident occurs that overshadows the puny irritations of marital strife: on her way to school, Jack and Alison’s seven-year-old daughter, Frankie, is hit by a truck and sent into a deep coma. Her 12-year-old brother, Ben, who witnessed the accident, is so traumatized that his hair turns white and he becomes nearly catatonic. The medical establishment offers the Heywoods no hope of a cure for Frankie—and little help for Ben, whose guilt prompts him to attempt suicide’so Alison turns in desperation to Dr. Elizabeth Chase, a genius neurologist who operates a highly experimental clinic for coma victims in Virginia. Chase, whose own brother died in a coma, is intrigued by Ben’s apparent knowledge of what Frankie is experiencing while she’s unconscious. His reports that she is fully active in a beautiful world we can’t see tally with Chase’s suspicions that her coma patients communicate with each other in some sort of “joint plane of awareness.” Welcoming the Heywoods to her clinic despite increasingly threatening attacks by fanatics, the Defense Department, and the local D.A., she urges Ben into her world of the collective unconscious to find and rescue his sister. In the end, Chase must join her young hero in this video-game—like universe where archetypal characters offer vital provisions and “magic” tokens to help seekers. The risk is that the participant will not return—in fact, only two of three wanderers manage to reach consciousness again. Mawson’s evocation of a shared “world beyond” is intriguing, but an ungainly structure and stock British characters may foil the publisher’s high hopes for this commercial novel.(Literary Guild Main Selection)

Pub Date: Sept. 1, 1998

ISBN: 0-553-10994-4

Page Count: 304

Publisher: Bantam

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: June 15, 1998

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CIRCE

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. 22, 2018

Kirkus Reviews Issue: Feb. 1, 2018

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ANIMAL FARM

A FAIRY STORY

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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