A blend of a Dickensian epic and Downton Abbey, with the author arriving at a conclusion that could allow sequels.

NO MAN'S LAND

Tolkien (Orders from Berlin, 2012, etc.) draws from the World War I–era experiences of his famous grandfather J.R.R. Tolkien to spin a saga worthy of Masterpiece Theater.

When Adam Raine’s mother is accidentally killed during a violent strike in London, his father, a builder and labor activist, moves them both north to Scarsdale, a small coal-mining town, where his cousin got him a job working for the union. The early part of the book takes place in pre–WWI Scarsdale and presents a nuanced portrait of stolid Edwardian England, its class divisions, economic inequalities, and withering aristocracy. Workingmen suffered—"the mine was cruel and the mine was king"—with life belowground chillingly claustrophobic and always dangerous. Adam’s father is killed saving the life of the mine owner, Sir John Scarsdale, during a riot. Grateful, Sir John, sometimes trapped by an aristocracy that restrains his better instincts, becomes Adam’s patron, bringing him to live in the Scarsdale family home and directing his education. The calculating Lady Scarsdale fears Adam will usurp the place of her younger son, Brice. Adam and the devious Brice become rivals for the love of Miriam, the local parson’s daughter, allowing Tolkien further exploration of social mores, but it’s a thoroughly old-fashioned, chaste romance. As Adam and his contemporaries are drawn into the war and shipped off to France, Tolkien displays much empathy for the working class, most vividly rendered in Adam’s friendship with the miners’ sons on the front lines. Characters become the faces of stoic courage or bitter cynicism as an old society is fractured by mechanized murder. Told chronologically through a narrative that marches rather than soars, the story’s second half relates England’s initial jingoistic war fervor, every able-bodied man pressured to join the cause, but then confronts the ugliness a generation decimated by machine guns, massed artillery, and incompetent generals faced returning home to a jaundiced society. The carnage in the trenches of the Somme is depicted by corpses stacked to serve as defensive emplacements and young lives capriciously snuffed out by the snap of a sniper’s bullet.

A blend of a Dickensian epic and Downton Abbey, with the author arriving at a conclusion that could allow sequels.

Pub Date: Jan. 24, 2017

ISBN: 978-0-385-54197-8

Page Count: 592

Publisher: Nan A. Talese

Review Posted Online: Oct. 19, 2016

Kirkus Reviews Issue: Nov. 1, 2016

Did you like this book?

No Comments Yet

Whitehead continues the African-American artists' inquiry into race mythology and history with rousing audacity and...

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2016

  • Kirkus Prize
  • Kirkus Prize
    finalist

  • New York Times Bestseller

  • National Book Award Winner

  • Pulitzer Prize Winner

THE UNDERGROUND RAILROAD

What if the metaphorical Underground Railroad had been an actual…underground railroad, complete with steam locomotive pulling a “dilapidated box car” along a subterranean nexus of steel tracks?

For roughly its first 60 pages, this novel behaves like a prelude to a slave narrative which is, at once, more jolting and sepulchral than the classic firsthand accounts of William Wells Brown and Solomon Northup. Its protagonist, Cora, is among several African-American men and women enslaved on a Georgia plantation and facing a spectrum of savage indignities to their bodies and souls. A way out materializes in the form of an educated slave named Caesar, who tells her about an underground railroad that can deliver her and others northward to freedom. So far, so familiar. But Whitehead, whose eclectic body of work encompasses novels (Zone One, 2011, etc.) playing fast and loose with “real life,” both past and present, fires his most daring change-up yet by giving the underground railroad physical form. This train conveys Cora, Caesar, and other escapees first to a South Carolina also historically unrecognizable with its skyscrapers and its seemingly, if microscopically, more liberal attitude toward black people. Compared with Georgia, though, the place seems so much easier that Cora and Caesar are tempted to remain, until more sinister plans for the ex-slaves’ destiny reveal themselves. So it’s back on the train and on to several more stops: in North Carolina, where they’ve not only abolished slavery, but are intent on abolishing black people, too; through a barren, more forbidding Tennessee; on to a (seemingly) more hospitable Indiana, and restlessly onward. With each stop, a slave catcher named Ridgeway, dispensing long-winded rationales for his wicked calling, doggedly pursues Cora and her diminishing company of refugees. And with every change of venue, Cora discovers anew that “freedom was a thing that shifted as you looked at it, the way a forest is dense with trees up close but from outside, the empty meadow, you see its true limits.” Imagine a runaway slave novel written with Joseph Heller’s deadpan voice leasing both Frederick Douglass’ grim realities and H.P. Lovecraft’s rococo fantasies…and that’s when you begin to understand how startlingly original this book is.

Whitehead continues the African-American artists' inquiry into race mythology and history with rousing audacity and razor-sharp ingenuity; he is now assuredly a writer of the first rank.

Pub Date: Sept. 13, 2016

ISBN: 978-0-385-53703-2

Page Count: 320

Publisher: Doubleday

Review Posted Online: April 13, 2016

Kirkus Reviews Issue: May 1, 2016

Did you like this book?

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

Reader Votes

  • Readers Vote
  • 17

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2018

  • New York Times Bestseller

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

Did you like this book?

more