A plodding quality slips in, the sense that Rideout is following the historical dots, but she does a terrific job describing...
George Mallory is famous for answering “Because it’s there” when asked why he kept trying to scale Everest, but Canadian Rideout’s debut novel about Mallory’s disastrous last climbing attempt is the story of a love triangle: a man, a woman and a mountain.
After two failures, George has promised his wife, Ruth, that he is done with Everest, but in 1924, he leaves Ruth with their three small children in Cambridge, where he is a professor and part of the Strachey/Bloomsbury world, to join a third expedition to the mountain. He is 37-years-old, with movie-star looks and charm. Ruth supported his earlier attempts, but now she is jealous of his time away climbing. She is right to be jealous since the real love they feel for each other is no match for his hunger for adventure or for Everest, which is always referred to in feminine terms. Although a large portion of the novel takes place in Cambridge, where Ruth waits for letters from George while caring for her children, her domestic dramas—insecurity about her abilities as a mother, mild attraction to family friend Will, hostility toward Mr. Hinks, chairman of the Mount Everest Committee, who sponsored the expedition—cannot compete with the drama on Everest itself. George feels the need to vindicate himself on this trip after an avalanche disaster that killed seven Tibetans during the last attempt. Five members of the team have attempted Everest together before. The new member, Sandy Irvine, is much younger, still a university student and eager to prove himself, especially to George. Petty tensions arise among the men bound so closely in isolation, but there is indescribable intimacy as well as they face life-and-death challenges on a daily basis.
A plodding quality slips in, the sense that Rideout is following the historical dots, but she does a terrific job describing both the extreme physical conditions and the dreamlike consciousness George and Sandy drift into as their memories of home intertwine with their moment-to-moment climb.Pub Date: Feb. 12, 2013
ISBN: 978-0-399-16058-5
Page Count: 400
Publisher: Amy Einhorn/Putnam
Review Posted Online: Dec. 2, 2012
Kirkus Reviews Issue: Dec. 15, 2012
Miller makes Homer pertinent to women facing 21st-century monsters.
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. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
PROFILES
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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