Vreeland’s love for Renoir is made palpable in this brilliant reconstruction.

LUNCHEON OF THE BOATING PARTY

In her fourth art-related historical, Vreeland (Girl in Hyacinth Blue, 1999, etc.) provides an in-depth look at one of Renoir’s most famous paintings (its name is her novel’s title).

Maison Fournaise, on the Seine outside of Paris, is one of Renoir’s favorite haunts. One July day in 1880, the 39-year-old artist is at the restaurant/hotel/boat rental when he reads a Zola essay critical of the Impressionists. It goads him into action. He will paint a scene of boaters on the upper terrace, a wide canvas work that will surpass his Montmartre spectacle Bal au Moulin de la Galette. But time is short and money is tight. He has just two months to take advantage of the summer light. He must find money for paints, for modeling fees and for eight Sunday luncheons for his group. The female models must be women he could love. Alphonsine and Angèle are naturals; the former is the owner’s daughter, the latter a bawdy child of Montmartre; both women glow with vitality. He adds the self-styled Circe, beautiful but temperamental, foisted on him by a salon hostess; she will provoke a crisis when she quits, refusing to be done in profile. Renoir finds a miraculous replacement in Aline, a 19-year-old seamstress he will marry, years later. There are other model problems: One man is involved in a duel; there is constant anxiety over the total number (13 must be avoided). Vreeland maintains the suspense while skillfully providing context. The traumas of the Franco-Prussian War and the Paris Commune are only ten years distant; Alphonsine is a war widow, a male model is a wounded veteran. The politics of the art world are unremitting; the once-cohesive Impressionists are now split three ways. Degas mocks Renoir for seeing life through rose-colored glasses; too bad. Joyful conviviality is as valid as squalor. The finished product affirms Renoir’s credo: “Art was love made visible.”

Vreeland’s love for Renoir is made palpable in this brilliant reconstruction.

Pub Date: May 7, 2007

ISBN: 978-0-670-03854-1

Page Count: 480

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2007

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

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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

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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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