Full-tilt madcap antics from a lean and mean fabulist of the first degree.

SKIRT AND THE FIDDLE

A down-and-out violinist makes the worst of his fall from grace.

Charlie was talented until his union signed him up for a suicide run as opener on the reunion tour of a megalithic metal band. Violently unappreciated by the troglodytic fans—who cared neither for his delicate classical covers of their band’s greatest hits nor for his being a racial mix of African-American and Cambodian—Charlie takes the occasion as his cue to start the slide into bumhood. By the time Egolf (Lord of the Barnyard, 1999) catches up with him, Charlie has already relegated himself to the Desmon Boarding House, where he drinks, occasionally does odd chores at a deli where he receives more harassment than pay, and pals around with Tinsel Greetz, a wannabe-revolutionary. Greetz, who dreams of creating a utopian socialist paradise when he’s not causing teeth-grinding irritation in everyone near him, is the sheer definition of poseur—and a wondrously hilarious satiric caricature. Greetz’s first attempt to create his utopia involves an ill-conceived barter system that quickly gets taken advantage of by a tribe of crusty squatters. Charlie gets sucked into Greetz’s downward spiral of incompetence and rage after the system falls apart, though soon enough Charlie finds his true calling: killing sewer rats for cash-on-the-barrel from the city. The rat passages are truly nauseating and yet, when walking-catastrophe Greetz stumbles onto the scene, also truly amusing. The narrative’s wayward energy sputters and dissipates somewhat after Louise appears and for mysterious reasons gives the men shelter, money, clothes and, in Charlie’s case, dozens of reasons to fall in love. By its very nature, though, this is an uneven piece of work, so to criticize Egolf for not keeping an even tone would be foolish. To quibble about such details in a novel of such bite and raging intellect seems unfair.

Full-tilt madcap antics from a lean and mean fabulist of the first degree.

Pub Date: Sept. 1, 2002

ISBN: 0-8021-1722-8

Page Count: 208

Publisher: Grove

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 15, 2002

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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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THE SECRET HISTORY

The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.

Pub Date: Sept. 16, 1992

ISBN: 1400031702

Page Count: 592

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 1, 1992

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