In Froderberg’s highly stylized, uniquely voiced first novel, a young bride’s growing disillusionment about her marriage coincides with the drought plaguing her Arizona community.
Seventeen-year-old Girl, whose briefly sketched, quickly forgotten parents have left her pretty much on her own, marries Son, the heir to a successful rancher, after a short, passionate courtship. Son’s mother and father, called Rose and Rose’s Daddy, are loving in-laws and their ranch was a paradise of fecundity in its time, as Rose’s Daddy explains in elaborate recitations. But a drought has set in, both physical and spiritual. Without water, the local economy is in a tailspin. The ranch sits above an aquifer, and in the past Rose’s Daddy has made a fortune selling off water. But now he is struggling. Son is soon leaving Girl to drink and entertain other women, in particular the daughter of his father’s longtime mistress Pearl. Deeply religious Rose withers away and dies, but not before she’s introduced Girl to Padre, a New Age minister. Son’s father sinks into a deep depression, ultimately committing suicide. Son’s mourning takes the form of profound anger and even wilder carousing. Girl seeks counsel from Padre, on whom she develops a profound and requited crush. She moves off the farm and stays briefly with Pearl’s father while Pearl and her mother are “north,” where Pearl is preparing to give birth, possibly to Son’s child, an irony since Girl has an abortion. But Son begs Girl to return to him and together they prepare for the big rodeo. The church burns down, and Padre moves on to another parish. Son is thrown from his horse, sustaining major neurogenic injuries that leave him with a ruined face and completely dependent on Girl. And then the rains come. Realism is not the point in Girl’s elliptical narrative, told in a vernacular that mixes biblical grandiosity and down-home grit.
An undeniably audacious, if self-consciously Southwest Gothic debut that fans of Cormac McCarthy should adore.Pub Date: Dec. 9, 2010
ISBN: 978-0-316-09877-9
Page Count: 288
Publisher: Little, Brown
Review Posted Online: Sept. 15, 2010
Kirkus Reviews Issue: Oct. 1, 2010
Categories: LITERARY FICTION
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BOOK REVIEW
Absolutely enthralling. Read it.
13
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A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 18, 2019
Kirkus Reviews Issue: March 1, 2019
Categories: LITERARY FICTION
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BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
Miller makes Homer pertinent to women facing 21st-century monsters.
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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
Categories: LITERARY FICTION | HISTORICAL FICTION
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