A thin little novel that attempts to do grand things in its discussion of aesthetics and the ambitions of careerism. Unfortunately, the project is marred by a fundamental misapprehension of current aesthetic debates within the art world; the notion of any artist seriously making a claim for "true beauty" and turning to "radically new" digital methods is simply absurd, and sits uncomfortably with the more on-point descriptions of exhibition opening dynamics and the social concerns of young artists. The pleasure of the reading is in the details, in these personal tics and awkward character dynamics that do manage to capture something of the neurotic art scene today. As such, the novel would read in a much more interesting way were it not left to the ridiculously grandiloquent thematic gestures of phrases like "the rape of the muse," which demonstrate that the book takes itself just a bit too seriously.

Despite a face that only a mother could love, Michael Stein's The Rape of the Muse is not a work of terror or murder, or even thrill--it is, rather, a kind of sedate little novel in which the characters appear rather flat, overshadowed by the author's vision, and bloated with his artistic passion.

This is actually not a bad thing. Rather than being the true focus, the characters are rather vehicles for the debate at hand: What is beauty? Who has it? Who can destroy it? Narrator Rand seems to seesaw between the pursuit of beauty, and lust. Meanwhile his mentor, Montrose--a selfish being matched only by the acidic fictional Rosa from Alina Bronsky's The Hottest Dishes of the Tartar Cuisine--seems constantly at odds with everyone, but especially with his best friend of thirty years, Simon Pruhar, whose own pursuit of beauty is undermined by his desire for fame and acknowledgement.

The story is based on a real case: Silberman vs. Georges regarding The Mugging of the Muse, from the 1970s. Stein includes the legalese of the inspiration, by also puts his own spin on things by infusing the trial speeches with a passion for beauty and art not often expressed by crotchety self-serving characters (outside of, perhaps, the grandstanding sometimes seen on shows like "Law & Order"). But, as with any piece of art, we must understand Stein's work as an allegory. That is to say, made in one form to represent another: sure, it's about a bunch of artists all fighting for freedom of expression, but deep down it's about friendship and hatred, and how those things must and do coexist in a world where beauty--the pursuit of beauty--is the only honorable pursuit.

In a world where we've moved past the groundbreaking changes that Montrose is attempting by switching from sculpture to graphic art, the value of this novel's message about art may be too late, but Stein's keen observation of humanity and it's quirks is timeless.

Lauren Cartelli
www.theliterarygothamite.com ( )

I appreciated having a good novel set in the art world. Being an artist I can appreciate the subtleties of characters and the little eccentrics that are prevalent. Good story.

"The Rape of the Muse" is a wonderful novel, and it's authors passion for writing is clearly evident in his treatment of his prose, which is both lush and evocative. It is also abundantly clear that the author has a keen understanding of art, and is knowledgeable in the subject, so as to give his characters and his story credibility. That being said, this is also not your mainstream novel, and it's appeal may be limited to a few who may have interest in the subject of art, or perhaps those who may be interested in literary trials.

As for me, I will admit that I am neither cultured enough to have much knowledge of art, and although I enjoy the occasional fictional trial, I'm not one to care much for it. And yet, I actually enjoyed reading this book. It starts off slow, and can seem incredibly tedious at first - but once it gets interesting, it gets really interesting. Also, I think the story is difficult to keep up with because the story keeps switching from the past to the present, and not too gracefully.

The premise is interesting in itself - Harris Montrose, a well-known artist who has come out of obscurity with a new exhibition out of which one piece has been featured in Vanity Fair, is being sued by his artist friend Pruhar, for using him as a subject in his art in a negative light. Also featured in this piece is Binny, the girlfriend of Rand Taybor who happens to be an apprentice to Harris. We experience the trial through Rand's eyes and thoughts.

Harris's work is clearly the representation of his disdain for Pruhar selling out to "commercial art" with his pottery, while Binny happens to be featured as the alluring seductress representing the momentary distraction or temporary gain, that ultimately taints Pruhar's work as a true artist in the long run. Parallels are abound, in both the characters, and their work. If one really sits back and is able to pick apart the imagery and allegory set forth by the author, this book instantaneously becomes a dramatic piece, that sparks deep thought and meaningful conversation. The pitfall, however, is that the characters appear aloof and entitled, and appear neither likeable nor relatable to the average reader, which can make the novel seem dull and blasé. But if you really examine the characters, and what they represent rather than who they appear to be, you might find yourself within a maze of questions, each opening another cerebral door unto itself. ( )

Coming from the art world, I really enjoyed this book. It took me a little while to really get into the story but when I did I couldn't put it down. I found the characters to be interesting and unique and enjoyed the fact that there really was no "happily ever after" at the end. It was more like "and life goes on." It took a semi-deep look into friendship, lust, and humanity. I'm not sure if the story can truly be appreciated by those disinterested in art but for those who are, it is a good read. ( )