Whether it is significant or not, or perhaps a portent, this is the third time that a young writer has tested his talent with a difficult theme, old age, in a manner which is a partial tour de force (i.e. Muriel Spark's Memento Mori; Updike's Poorhouse Farm). Here, in the estrangement which the years bring, a number of septuagenarians are gathered together to elect the new President of their Old Boys Association. They share, in the past, their attendance at an English boy's school, and now, a time of life which finds them brittle, disengaged, and to an extent disembodied. Mr. Jaraby covets the post and Nox, once his fag, who remembers him well but not kindly, hopes to defeat him. Mrs. Jaraby too collaborates against her husband; she is expecting the return of her son, Basil, after 15 years; Basil is a bird fancier and to facilitate his home-coming with his budgerigars, she disposes of Mr. Jaraby's monstrous cat. Then there's Mr. Turtle, an old, old ghost who slips away in the second act of a performance of The Hikado; and the others, General Sanctuary, Mr. Sole, Sir George Ponders, etc., who ign themselves with Jaraby before his son causes his defeat. And the book ends with Mrs. Jaraby's taunting invitation to her husband— "Come now, how shall we prove we are not dead?". It will never be accepted- and Mr. Trevor's novel may also go by default, acute as it may be. This is a view of life which is closer to death and puckered with eccentricity.
Pub Date: March 19, 1964
ISBN: 014002428X
Page Count: 188
Publisher: Viking
Review Posted Online: Oct. 6, 2011
Kirkus Reviews Issue: March 1, 1964
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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