A minor effort, but a nice tribute to some of the author’s literary progenitors.
Dying of tuberculosis, Stephen Crane dictates a novel about a boy prostitute in another fact-based fiction from White (My Lives, 2006, etc.).
As in Fanny (2003), the author offers a “fantasia on real themes provided by history.” Stephen Crane did die in 1900, and his common-law wife Cora did once run a brothel in Florida called the Hotel de Dream. The dying writer may have met a teenaged male prostitute in the 1890s and begun a novel about him; a “Postface” quotes a document left behind by a critic who knew Crane, but acknowledges that it may be a fabrication. It provides a handy jumping-off point, however, for The Painted Boy, White’s clever act of literary ventriloquism that applies Crane’s trademark stripped-down prose to the subject of homosexuality, so out-of-bounds in the 19th century that White shows the writer’s friend and fellow novelist Hamlin Garland telling him, “These are the best pages you’ve ever written and if you don’t tear them up, every last word, you’ll never have a career.” Interspersed among passages describing Crane’s final months, the story of a country boy turned big-city whore and his doomed love for a banker is interesting enough, but without the shock value it would have had in 1900 it seems merely a standard piece of American naturalism. Far better are White’s portraits of the earthy Cora and of Crane’s literary friends: Henry James, with his elaborate, endless sentences and underlying shrewdness; artistic comrade-in-arms Joseph Conrad, bristling with energy and ideas. Crane’s personality is more shadowy, perhaps because his energies are all absorbed by dying. White’s best sentences acutely capture the contrast between two writers he admires for very different reasons: “James had thought about his art for half a century and devoted all his life force to it, but Stevie laughed at it all, would never be caught saying a word about ‘art’…and yet Stevie was the great American stylist.”
A minor effort, but a nice tribute to some of the author’s literary progenitors.Pub Date: Sept. 4, 2007
ISBN: 978-0-06-085225-2
Page Count: 240
Publisher: Ecco/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2007
IN THE NEWS
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 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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
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