A slim little surprise of delightful whimsy: Umberto Eco would definitely approve.
Getting shipwrecked doesn’t have to be so bad.
Ten-year-old Jeanne and her older brother Thomas don’t get along, which isn’t much of a surprise. In fact, not much is a surprise as Orsenna (Love and Empire, 1991, etc.) begins here. Jeanne and Thomas seem just your average precocious and slightly pampered French children who happen to be on an ocean liner to America—until, that is, the liner sinks in a storm and the kids are swept up on a deserted shore. The first sign that something is out of the ordinary—that we’re not reading just the tale of two children surviving on a lonely island—comes when Thomas and Jeanne discover pages of a dictionary washing up on the beach (there was a Scrabble tournament on the boat), still impossibly legible after floating in the sea. Jeanne is delighted and starts snatching the pages up, thinking she’d like to cover her body in them: “They would have caressed and soothed me in the unobtrusive, slightly unsettling way that words have.” The island turns out hardly to be deserted. A kindly older man named Monsieur Henri swiftly appears and takes the little survivors on a tour of a place more than a little magical and quite definitely metaphoric. Here, words are free, not imprisoned by and always waiting on people. Instead, they’re living tribes that occasionally have dealings with each other, sometimes even getting married to words from different tribes. All this isn’t just fantasy and fun, since Orsenna has some grammar lessons to teach the young readers who are presumably his targeted audience. But in this tiny French bestseller (260,000 copies sold so far, we’re told), he imparts the lessons delightfully, making examples of things like the nouns and articles (they’re always together) who go shopping in stores run by adjectives, since the adjectives help the nouns and articles feel less cold and naked.
A slim little surprise of delightful whimsy: Umberto Eco would definitely approve.Pub Date: June 1, 2004
ISBN: 0-8076-1531-5
Page Count: 128
Publisher: Braziller
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2004
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
PROFILES
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.
An ambitious scientific experiment wreaks horrendous toll in the Booker-winning British author’s disturbingly eloquent sixth novel (after When We Were Orphans, 2000).
Ishiguro’s narrator, identified only as Kath(y) H., speaks to us as a 31-year-old social worker of sorts, who’s completing her tenure as a “carer,” prior to becoming herself one of the “donors” whom she visits at various “recovery centers.” The setting is “England, late 1990s”—more than two decades after Kath was raised at a rural private school (Hailsham) whose students, all children of unspecified parentage, were sheltered, encouraged to develop their intellectual and especially artistic capabilities, and groomed to become donors. Visions of Brave New World and 1984 arise as Kath recalls in gradually and increasingly harrowing detail her friendships with fellow students Ruth and Tommy (the latter a sweet, though distractible boy prone to irrational temper tantrums), their “graduation” from Hailsham and years of comparative independence at a remote halfway house (the Cottages), the painful outcome of Ruth’s breakup with Tommy (whom Kath also loves), and the discovery the adult Kath and Tommy make when (while seeking a “deferral” from carer or donor status) they seek out Hailsham’s chastened “guardians” and receive confirmation of the limits long since placed on them. With perfect pacing and infinite subtlety, Ishiguro reveals exactly as much as we need to know about how efforts to regulate the future through genetic engineering create, control, then emotionlessly destroy very real, very human lives—without ever showing us the faces of the culpable, who have “tried to convince themselves. . . . That you were less than human, so it didn’t matter.” That this stunningly brilliant fiction echoes Caryl Churchill’s superb play A Number and Margaret Atwood’s celebrated dystopian novels in no way diminishes its originality and power.
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.Pub Date: April 11, 2005
ISBN: 1-4000-4339-5
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2005
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