A subtle exploration of loss.
A modern-day Three Wise Monkeys, Al-Mohaimeed’s novel, banned in Saudi Arabia, concerns a trio of disabled Saudis who accidentally converge in Riyadh and tell their stories. This is the author’s first book-length U.S. publication.
Turad, a Bedouin missing an ear, waits in a Riyadh bus station not knowing where he is going, but only that he must escape his current “hell,” perhaps find a hell of a different name. He recalls, in spurts, the details of his life—his father’s grief when his older brother ran away with a gypsy girl, his foray into highway robbery to bring money home to his family, his shame about his ear and his stilted, humiliating career as a servant in a ministry office. While half-heartedly trying to decide upon a destination, he discovers an old government file that someone has left, which chronicles in legal terms the life of another misfit, a young man orphaned and mutilated as an infant, leaving him with one eye. The baby, who received the government-issued name Nasir, was placed in an orphanage, where he was arguably sexually abused by a Filipino caretaker, before being rejected by the armed forces. Nasir’s story stirs Turad’s memory, and he recalls the stories of a former colleague, a Sudanese man named Amm Tawfiq, who had once been a driver for the palace and spoke of Nasir. Like Turad and Nasir, Amm Tawfiq is also missing something essential—as a younger man, he was tricked by a group of slave traders, and after a long and arduous journey with them, was viciously raped and castrated. Seemingly the most life-altering of the three wounds, the castration appears to affect Amm Tawfiq less profoundly than the other two are affected by their traumas. In each case, though, mutilation becomes an effective frame for conveying the characters’ collective pain and solitude.
A subtle exploration of loss.Pub Date: Jan. 1, 2008
ISBN: 978-0-14-311321-8
Page Count: 192
Publisher: Penguin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2007
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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
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