Stream-of-consciousness fiction with a satisfying emotional weight: another intriguing experiment in narrative voice from...

THE WAY OF THE DOG

An aging, embittered art collector looks back on a life defined by his brief friendship with a successful painter.

Sardonic humor leavens what would otherwise seem like a solipsistic reckoning of Harold Nivenson’s injuries, beginning with mean siblings and culminating with the death of his dog, Roy, some vague amount of time earlier. Harold lives in a decaying house in an urban area that has morphed from “a district of aging working-class white people drinking cheap beer on collapsing porches...[into] a neighborhood of middle-class breeders.” He thinks of himself as alone and friendless, though a woman named Moll (whose relationship to him is initially unclear) has moved in to care for him, and the son he calls Alfie (not his real name) pays frequent visits. Harold is unwilling to acknowledge any attachment save Roy’s; the routines of owning a dog gave his shattered life meaning, and he imagines Roy sharing the canine wisdom that “[e]very day is all there is.” By contrast, Harold believes Alfie has come only to get his art collection appraised, and his bitter memories of Peter Meininger—creator of the sole valuable painting, according to the appraiser—characterize the artist as a user who took refuge in Harold’s house, worked there and slept with Harold’s wife, then decamped, leaving Nude in Deck Chair as an insulting reminder of the wife’s infidelity. Harold is at first an alienating narrator, as he snipes at everyone from his neighbors to his relatives, but we gradually see that he has never been as detached from the world as he pretends and that he is in fact hungry for human contact. Though he decries even the stark basic scenario of “man is born, suffers, and dies” as “too much of a story,” Harold comes to accept love—maybe even to think about giving it in return.

Stream-of-consciousness fiction with a satisfying emotional weight: another intriguing experiment in narrative voice from Savage (Glass, 2011, etc.).

Pub Date: Feb. 12, 2013

ISBN: 978-1-56689-312-1

Page Count: 152

Publisher: Coffee House

Review Posted Online: Oct. 11, 2012

Kirkus Reviews Issue: Nov. 1, 2012

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Miller makes Homer pertinent to women facing 21st-century monsters.

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CIRCE

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

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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