Thoughtful, tender and quite gripping, even for readers unfamiliar with the historical events the author sensitively...

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THE MASTER'S MUSE

A fictional portrait of ballerina Tanaquil Le Clercq’s struggle with polio—and George Balanchine.

As O’Connor’s main narrative opens in the summer of 1956, the New York City Ballet is on tour in Copenhagen when 27-year-old Tanny (as everyone calls her) is stricken with polio. George nurses her devotedly and pushes her almost as hard in physical therapy as he did in rehearsal, but they must face the fact that she will never walk or dance again, while his life continues to be consumed by ballet. Tanny, his fifth wife, is well aware of George’s habit of marrying his favorite ballerina, making great dances for her, then moving on to new inspiration. The balance of the novel traces the evolution of their complicated relationship: during the remaining 13 years of their marriage, when she tells herself “the other women mean nothing” and are merely fodder for his choreography; through the crisis sparked by his obsession with teenage Suzanne Farrell, which destabilizes NYCB and finally leads to their divorce; and in later years, when they resume a friendship that still has moments of jealousy and anger, but is founded on enduring love and long intimacy. Jerome Robbins, Diana Adams and Maria Tallchief are among the other real-life figures vividly depicted in the first-person narration O’Connor (A Company of Three, 2003, etc.) crafts for Tanny, but the center of attention is always George, captured in all his intermingled charm, cruelty and utter devotion to his muse—whoever she may be. We believe Tanny’s assertion that she holds a special place in his heart, but we sense that she knows there are special places there for all his women. Tanny has another lover later in life, and she finds fulfilling work writing books and coaching dancers; this is not a novel about victimization or the malevolence of genius, but rather about the painful accommodations all of us make for the things and people we love.

Thoughtful, tender and quite gripping, even for readers unfamiliar with the historical events the author sensitively reimagines.

Pub Date: May 8, 2012

ISBN: 978-1-4516-5538-4

Page Count: 256

Publisher: Scribner

Review Posted Online: Feb. 20, 2012

Kirkus Reviews Issue: March 1, 2012

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Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

CILKA'S JOURNEY

In this follow-up to the widely read The Tattooist of Auschwitz (2018), a young concentration camp survivor is sentenced to 15 years’ hard labor in a Russian gulag.

The novel begins with the liberation of Auschwitz by Soviet troops in 1945. In the camp, 16-year-old Cecilia "Cilka" Klein—one of the Jewish prisoners introduced in Tattooist—was forced to become the mistress of two Nazi commandants. The Russians accuse her of collaborating—they also think she might be a spy—and send her to the Vorkuta Gulag in Siberia. There, another nightmarish scenario unfolds: Cilka, now 18, and the other women in her hut are routinely raped at night by criminal-class prisoners with special “privileges”; by day, the near-starving women haul coal from the local mines in frigid weather. The narrative is intercut with Cilka’s grim memories of Auschwitz as well as her happier recollections of life with her parents and sister before the war. At Vorkuta, her lot improves when she starts work as a nurse trainee at the camp hospital under the supervision of a sympathetic woman doctor who tries to protect her. Cilka also begins to feel the stirrings of romantic love for Alexandr, a fellow prisoner. Though believing she is cursed, Cilka shows great courage and fortitude throughout: Indeed, her ability to endure trauma—as well her heroism in ministering to the sick and wounded—almost defies credulity. The novel is ostensibly based on a true story, but a central element in the book—Cilka’s sexual relationship with the SS officers—has been challenged by the Auschwitz Memorial Research Center and by the real Cilka’s stepson, who says it is false. As in Tattooist, the writing itself is workmanlike at best and often overwrought.

Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

Pub Date: Oct. 1, 2019

ISBN: 978-1-250-26570-8

Page Count: 352

Publisher: St. Martin's

Review Posted Online: Oct. 28, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be...

LOVECRAFT COUNTRY

Some very nice, very smart African-Americans are plunged into netherworlds of malevolent sorcery in the waning days of Jim Crow—as if Jim Crow alone wasn’t enough of a curse to begin with.

In the northern U.S. of the mid-1950s, as depicted in this merrily macabre pastiche by Ruff (The Mirage, 2012, etc.), Driving While Black is an even more perilous proposition than it is now. Ask Atticus Turner, an African-American Korean War veteran and science-fiction buff, who is compelled to face an all-too-customary gauntlet of racist highway patrolmen and hostile white roadside hamlets en route from his South Side Chicago home to a remote Massachusetts village in search of his curmudgeonly father, Montrose, who was lured away by a young white “sharp dresser” driving a silver Cadillac with tinted windows. At least Atticus isn’t alone; his uncle George, who puts out annual editions of The Safe Negro Travel Guide, is splitting driving duties in his Packard station wagon “with inlaid birch trim and side paneling.” Also along for the ride is Atticus’ childhood friend Letitia Dandridge, another sci-fi fan, whose family lived in the same neighborhood as the Turners. It turns out this road trip is merely the beginning of a series of bizarre chimerical adventures ensnaring both the Turner and Dandridge clans in ancient rituals, arcane magical texts, alternate universes, and transmogrifying potions, all of which bears some resemblance to the supernatural visions of H.P. Lovecraft and other gothic dream makers of the past. Ruff’s ripping yarns often pile on contrivances and overextend the narratives in the grand manner of pulp storytelling, but the reinvented mythos here seems to have aroused in him a newfound empathy and engagement with his characters.

If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be doing triple axels in his grave at the way his imagination has been so impudently shaken and stirred.

Pub Date: Feb. 16, 2016

ISBN: 978-0-06-229206-3

Page Count: 432

Publisher: Harper/HarperCollins

Review Posted Online: Nov. 4, 2015

Kirkus Reviews Issue: Nov. 15, 2015

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