The connections Lazar makes here are complex and artful, though at times bewildering even to discerning readers.
A complex tale involving Meyer Lansky, Las Vegas, an investigative reporter and the murder of an Israeli poet.
Lazar (Evening’s Empire, 2009, etc.) brings all these elements—and more—together as he jumps across decades and intercalates different narrators. At the center of the novel is Meyer Lansky, not the brash young gangster but, rather, the elderly, frail and even pathetic figure who petitions the government of Israel, where he wants to live out his last years, for citizenship. His request is denied, and he’s returned to the United States. We learn about Lansky’s relationship with his mistress Gila Konig, a cocktail waitress, and Lazar also gives us tantalizing glimpses into Lansky’s connections to Bugsy Siegel and Lucky Luciano. Back in New York, Gila becomes a Hebrew teacher but quits after an ugly confrontation regarding her experience in Bergen-Belsen. One of her students, Hannah Groff, eventually grows up, becomes a reporter and goes to Israel to investigate the death of writer David Bellen, who was both a poet and a belletrist. One of his long essays, like the novel entitled Pity the Poor Immigrant, is an extended meditation on several books involving Las Vegas and Jewish gangsters, specifically Meyer Lansky. (It’s a sign of Lazar’s verisimilitude that the books his fictitious poet reviews are in fact real books.) Hannah both develops and pursues an interest in Gila, who, it turns out, had a relationship with Hannah’s father.
The connections Lazar makes here are complex and artful, though at times bewildering even to discerning readers.Pub Date: April 8, 2014
ISBN: 978-0-316-25403-8
Page Count: 256
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2014
Kirkus Reviews Issue: Feb. 1, 2014
PROFILES
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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