A wildly inventive and moving exploration of the human mind under conditions of duress.

MURMUR

A challenging literary experiment about the shifting nature of human consciousness, inspired by English computer scientist Alan Turing, who was persecuted for being gay.

British novelist and poet Eaves (The Absent Therapist, 2014, etc.) tells the story of Alec Pryor, an English mathematician modeled after Turing, in three sections. Part of a top-secret effort to decrypt coded German communications during World War II, Pryor is a prominent member of scientific and government circles after the war. He is also, however, a gay man at a time when homosexuality is a punishable offense under British law. Searching for intimacy under these conditions, he wanders a fairground and meets a man named Cyril, with whom he strikes up a sexual relationship. This is his downfall: A friend of Cyril's breaks into Pryor's apartment, and when he reports the crime, he's taken in for suspicion of homosexual acts. Soon, he finds himself under the control of Dr. Stallbrook, an analyst who oversees the chemical castration to which he's been sentenced. Stallbrook encourages Pryor to write, and these "notes to pass the time" become the hallucinatory dreamscapes of the book's second and third parts. As the synthetic estrogen does its work, Pryor's consciousness ranges back and forth in time, from Britain's hunter-gatherer past to a future in which machines replace human consciousness. Watching himself as if from afar, he comes to terms with the loss of control he suffers as his body changes. All the while, he is haunted by the memory of a figure from his schoolboy days, Christopher Molyneaux, a fellow student Pryor loved but whose friendship gradually faded. "I think he was told no good could come of our friendship, because of what I am, or rather, because of what, then, it was suggested I would become." In careful prose, Eaves prods at the limits of human consciousness as Pryor comes to grips with the changes wracking his body. All the while Eaves asks important questions about our ability to communicate our innermost thoughts to those we love. "What would a conversation be with instant, mutual apprehension of its themes?" Pryor wonders. Eaves has delivered a gripping narrative experiment that gives us a sense of what such an intimacy would be like.

A wildly inventive and moving exploration of the human mind under conditions of duress.

Pub Date: April 9, 2019

ISBN: 978-1-942658-64-1

Page Count: 184

Publisher: Bellevue Literary Press

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

Did you like this book?

No Comments Yet

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

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2016

  • Kirkus Prize
  • Kirkus Prize
    finalist

  • New York Times Bestseller

  • Pulitzer Prize Winner

  • National Book Award Winner

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

Did you like this book?

No Comments Yet

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Our Verdict

  • Our Verdict
  • GET IT

Google Rating

  • google rating
  • google rating
  • google rating
  • google rating
  • google rating
  • Kirkus Reviews'
    Best Books Of 2014

  • New York Times Bestseller

  • Pulitzer Prize Winner

  • National Book Award Finalist

ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

Did you like this book?

more