Tremain studied with the late Angus Wilson, and the influence of his fertile imagination has clearly helped shape, and...
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 19, 2010
Kirkus Reviews Issue: March 15, 2000
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
An addictive psychological thriller.
When a mysterious novel appears on her bedside table, a successful documentary filmmaker finds herself face to face with a secret that threatens to unravel life as she knows it.
Catherine Ravenscroft has built a dream life, or close to it: the devoted husband, the house in London, the award-winning career as a documentary filmmaker. And though she’s never quite bonded with her 25-year-old son the way she’d hoped, he’s doing fine—there are worse things than being an electronics salesman. But when she stumbles across a sinister novel called The Perfect Stranger—no one’s quite sure how it came into the house—Catherine sees herself in its pages, living out scenes from her past she’d hoped to forget. It’s a threat—but from whom? And why now, 20 years after the fact? Meanwhile, Stephen Brigstocke, a retired teacher, widowed and in pain, is desperate to exact revenge on Catherine and make her pay for what happened all those years ago. The story is told in alternating chapters, Catherine's in the third-person and Stephen's in the first, as the two orbit each other, predator and prey, and the novel moves between the past and the present to paint a portrait of two troubled families with trauma bubbling under the surface. As their lives become increasingly entangled, Stephen’s obsession grows, Catherine’s world crumbles, and it becomes clear that—in true thriller form—everything may not be as it seems. But how much destruction must be wrought before the truth comes out? And when it does, will there be anything left to salvage? While the long buildup to the big reveal begins to drag, Knight’s elegant plot and compelling (if not unexpected) characters keep the heart of the novel beating even when the pacing falters. Atmospheric and twisting and ripe for TV adaptation, this debut novel never strays far from convention, but that doesn’t make it any less of a page-turner.
An addictive psychological thriller.Pub Date: May 19, 2015
ISBN: 978-0-06-236225-4
Page Count: 352
Publisher: Harper/HarperCollins
Review Posted Online: March 1, 2015
Kirkus Reviews Issue: March 15, 2015
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
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