Tremain studied with the late Angus Wilson, and the influence of his fertile imagination has clearly helped shape, and...

MUSIC AND SILENCE

Versatile British author Tremain's eighth novel (after The Way I Found Her, 1998) is the stuff of which fairy-tales are spun, though it also exhibits a compelling psychological and moral density.

The tale begins in 1629 as Peter Claire, a young English "lutenist'' who’s been summoned to the court of King Christian IV, arrives in Denmark to become the newest member of the royal orchestra. Then, in a skillfully presented array of increasingly interlocking narratives (each keyed to a different character's consciousness), Tremain explores a considerable range of human responses to, and involvements with, the overt expressiveness of "music'' and the "silence'' that pervades hearts and minds given to introversion and secrecy. The tale of Christian's embattled boyhood and sudden ascension to the throne—a sort of Hans Christian Andersen fable of a mind eagerly expanding, then possessively contracting— brilliantly dramatizes a hungry spirit's resolute perfectionism. The "confessions'' of Christian's adulterous consort Kirsten (petulantly recorded in her "private papers'') vividly portrays an antic superego that thrives on selfindulgence and subterfuge. And the parallel tale of the love between Peter Claire and Kirsten's favorite handmaiden, Emilia, who’s also been traumatized by a complex legacy of intrigue and lust—ironically echoes the royal drama to which it is gradually, ingeniously linked. Not all the connections here work quite so effectively (the story of Danishborn Countess O'Fingal, for example, whose Irish husband is destroyed by his obsession with a heavenly melody heard only in his dreams feels redundant and contrived). But Tremain's deepening characterization of King Christian—both as an incarnation of acquisitiveness who believes in his own divine right, and a sensitive seeker of higher things—is masterly and, ultimately, very moving.

Tremain studied with the late Angus Wilson, and the influence of his fertile imagination has clearly helped shape, and energize, her own. Music & Silence may be her best yet.

Pub Date: April 1, 2000

ISBN: 0-374-19989-2

Page Count: 480

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2000

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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DEVOLUTION

Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).

A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Pub Date: June 16, 2020

ISBN: 978-1-9848-2678-7

Page Count: 304

Publisher: Del Rey/Ballantine

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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