This portrayal of a ballerina’s transformation and sacrifice burns with the beauty of fire: it’s powerful, it’s destructive,...

GIRL THROUGH GLASS

Wilson’s debut novel weaves together the past and present of one dancer’s life: first, as a young girl in 1970s New York forgoing her childhood to become an elite ballerina, and then as an adult trying to rebuild her life in the wake of her accumulated sacrifices.

Mira Able is an 11-year-old forced to grow up fast. Her home in Brooklyn is in disrepair, her father disappeared, and her mother is unpredictable at best. Mira takes care of herself, but she wants to be seen. Her ballet classes provide structure as well as an outlet for her anger. The harder she works, the stronger she gets, the more she is praised. Then, she gets her wish. Maurice, a crippled older man and a patron of the ballet, notices her. He sees her talent and wants to nurture it. Some of her fellow students warn Mira that he’s “creepy,” but she thrives on his attention. He instills in her “the understanding of what you have to give up to be beautiful.” Soon, Mira is attending the elite School of American Ballet. She's no longer a child—she's a ballerina, Maurice’s “Bella.” Flash-forward to the present day, and Mira, now Kate, a dance historian, is feeling unhinged after learning she might lose her teaching position. Seeking resolution, she goes back to New York to confront her past self, to heal wounds left by years of sacrifice in the name of beauty and ballet. In these two storylines, Wilson develops a compelling theme of loss and rebirth. Mira’s story is fueled by a rage that burns intensely; the sacrifice, the dark side of her pursuit, will touch readers to the core. Because Mira’s story is so strong, Kate’s pales in comparison, and her first-person narration feels strangely distant. Wilson does close some of this distance in the end, as Kate’s story comes full circle: “He gave me ashes. But first he showed me the fire.”

This portrayal of a ballerina’s transformation and sacrifice burns with the beauty of fire: it’s powerful, it’s destructive, and it dares you to try and look away.

Pub Date: Jan. 26, 2016

ISBN: 978-0-06-232627-0

Page Count: 288

Publisher: Harper/HarperCollins

Review Posted Online: Dec. 26, 2015

Kirkus Reviews Issue: Dec. 15, 2015

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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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Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

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WHERE THE CRAWDADS SING

A wild child’s isolated, dirt-poor upbringing in a Southern coastal wilderness fails to shield her from heartbreak or an accusation of murder.

“The Marsh Girl,” “swamp trash”—Catherine “Kya” Clark is a figure of mystery and prejudice in the remote North Carolina coastal community of Barkley Cove in the 1950s and '60s. Abandoned by a mother no longer able to endure her drunken husband’s beatings and then by her four siblings, Kya grows up in the careless, sometimes-savage company of her father, who eventually disappears, too. Alone, virtually or actually, from age 6, Kya learns both to be self-sufficient and to find solace and company in her fertile natural surroundings. Owens (Secrets of the Savanna, 2006, etc.), the accomplished co-author of several nonfiction books on wildlife, is at her best reflecting Kya’s fascination with the birds, insects, dappled light, and shifting tides of the marshes. The girl’s collections of shells and feathers, her communion with the gulls, her exploration of the wetlands are evoked in lyrical phrasing which only occasionally tips into excess. But as the child turns teenager and is befriended by local boy Tate Walker, who teaches her to read, the novel settles into a less magical, more predictable pattern. Interspersed with Kya’s coming-of-age is the 1969 murder investigation arising from the discovery of a man’s body in the marsh. The victim is Chase Andrews, “star quarterback and town hot shot,” who was once Kya’s lover. In the eyes of a pair of semicomic local police officers, Kya will eventually become the chief suspect and must stand trial. By now the novel’s weaknesses have become apparent: the monochromatic characterization (good boy Tate, bad boy Chase) and implausibilities (Kya evolves into a polymath—a published writer, artist, and poet), yet the closing twist is perhaps its most memorable oddity.

Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

Pub Date: Aug. 14, 2018

ISBN: 978-0-7352-1909-0

Page Count: 384

Publisher: Putnam

Review Posted Online: May 15, 2018

Kirkus Reviews Issue: June 1, 2018

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