Profound issues addressed with a delicate touch and folded into a strong story populated by wrenchingly human characters:...

BLACK RIVER

Hulse debuts with a stark, tender tale about one man’s quest for faith and forgiveness.

The initial question is whether Wes Carver can forgive Bobby Williams, the inmate who tortured him during a prison riot that left two of his fellow corrections officers dead. He gets a letter informing him Williams is up for parole just days before his beloved wife, Claire, dies of leukemia, so Wes is in shaky condition when he returns to Black River, Montana, site of the prison and home to his stepson, Dennis. It’s been 20 years since the riot, 18 since Wes and Claire moved to Spokane, leaving behind her 16-year-old son after a violent altercation between the two men. Hulse unpacks this back story slowly, reproducing the way past traumas shape the present. We grow to realize that Wes too needs forgiveness: for forcing Claire to choose between him and Dennis; for the silent stoicism that shut out even his wife; for the rigid, judgmental morality that keeps him away from the funeral of a troubled teen he befriends in Black River while waiting for the parole hearing. This last act prompts another angry break with Dennis, who has his own traumas to deal with. Wes is a hard man, yet we empathize with him because Hulse quietly reveals two defining, crippling absences. When Williams broke Wes’ fingers one by one, Wes lost his ability to play the fiddle, the great joy of a life haunted by his father’s suicide. Religion is no consolation; though Wes regularly attends church and says grace at meals, he struggles to truly believe—and is enraged that Williams claims to have found God. By making Wes’ suffering so palpable, Hulse makes it even more moving when, in the novel’s final pages, he achieves something he’s been seeking for a very long time: grace.

Profound issues addressed with a delicate touch and folded into a strong story populated by wrenchingly human characters: impressive work from a gifted young artist.

Pub Date: Jan. 20, 2015

ISBN: 978-0-544-30987-6

Page Count: 240

Publisher: Houghton Mifflin Harcourt

Review Posted Online: Nov. 5, 2014

Kirkus Reviews Issue: Nov. 15, 2014

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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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