Another of Trevor's icy transparencies, here exposing the complex pathology of malignant attachments that result from the rogue drift of a somehow pitiable predator. He is handsome, appealing minor actor Francis Tyre—a 33-year-old thief, bigamist, blackmailer, and abandoner of aged parents who effortlessly and compulsively slips into new identities and situations. But Francis usually feels "let down," considering himself a victim—like Constance Kent, an abused Victorian murderess, subject of a TV play in which Francis once had a small role. His first wife victimized him, Francis feels: she was a 50-year-old dressmaker with a heart condition (and some money) who didn't die as fast as she promised to. He feels victimized also by gaunt, chain-smoking shopgirl Doris and their wretched blotchy-faced child Joy: because of the danger of a paternity suit, he has continued to see possessive Doris. And now there's a new betrayal for Francis to suffer from: 47-year-old widow Julia, whom he is about to marry in her beautiful home, makes a will in favor of her daughters—thanks to the urging of her mother, Mrs. Ansley, who feels a pinprick of unease about Francis and wonders "if she could tell from his walk what part he was playing." So, on the wedding night, Francis tells Julia about his grim, make-believe life-pattern (which began when he was seduced by his parents' boarder), collects her jewelry, and leaves her—implying that he forgives her for asking so much from him. And Julia, shocked out of love and faith, is then forced to enter the nightmare world of Doris—who, eaten with jealousy and ravaged by alcohol, will take a terrible journey to plead, to blame, and to murder; the once-religious Julia, finally "humiliated. . . with the truth," is compelled to take account of a world of savagery. True, the revelation of Francis' early homosexual experience seems a bit of a clinical contrivance. But that's the only even slightly false note here—as, again, with immaculate particulars, Trevor charts the metastasis of evil in a world of random tragedies and deliberate (if small) salvations.

Pub Date: Jan. 1, 1980

ISBN: 0140106693

Page Count: 219

Publisher: Viking

Review Posted Online: Oct. 6, 2011

Kirkus Reviews Issue: Jan. 1, 1980

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Miller makes Homer pertinent to women facing 21st-century monsters.

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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 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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