Second-novelist Parsons (Leaving Disneyland, 2001) unnecessarily overloads the scales: His sensitive evocation of historical...

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IN THE SHADOWS OF THE SUN

War, dispossession and atomic fallout afflict a decent ranching family in 1940s New Mexico.

“Seems like we was bred for bad luck,” Ross Strickland comments—justifiably, although neither he nor his less taciturn brother Baylis initially grasps the magnitude of ruin bearing down on them and their Bar-X ranch. First, Ross’s son Jack enlists and is reported dead fighting in the Philippines. Then the War Department claims their land for a bombing range, expunging years of toil and investment. As the ordered universe implodes, so the Stricklands’ moral compass starts to fail. A feud with reprobate brothers Wink and Napoleon Seery, the Stricklands’ dark opposites, turns violent: Wink’s innocent son Felix is wounded, and then Ross guns down Napoleon in a claimed act of self-defense. But it is Jack, not dead but a prisoner of the Japanese, who is punished most harshly. Malnutrition, beatings, torture and wholesale slaughter are commonplace in the slave labor camps, which reduce him and his peers to their most atavistic selves. Jack finds camaraderie and survivor wisdom among Mexicans, Native Indians and other underdogs. “Maybe it’s better you don’t think about justice,” one sagely advises. Both Jack and Baylis witness the blistering flash of an atomic bomb detonation: Jack near Tokyo, his uncle close to Bar-X land. With Ross in prison and the family scattered, Baylis’s marriage falls apart, and the succor of a brief affair with his sister-in-law turns to corrosive guilt once Ross is released. Jack returns from the dead, a mere skeleton of himself, haunted by anger and more guilt. Ross’s hopes for the ranch are dashed when the War Office denies restitution of their land, and he dies in a car crash. This final blow irretrievably crushes Baylis, leaving to disfigured Felix and scarred Jack the burden of rediscovering a purpose.

Second-novelist Parsons (Leaving Disneyland, 2001) unnecessarily overloads the scales: His sensitive evocation of historical atrocities and a scouring way of life would be affecting enough without the pile-up of misery.

Pub Date: May 3, 2005

ISBN: 0-385-51244-9

Page Count: 272

Publisher: Nan A. Talese

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 2005

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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in white society, is shedding her fur coat. Jude, so black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her white persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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A promising debut that’s awake to emotional, political, and cultural tensions across time and continents.

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HOMEGOING

A novel of sharply drawn character studies immersed in more than 250 hard, transformative years in the African-American diaspora.

Gyasi’s debut novel opens in the mid-1700s in what is now Ghana, as tribal rivalries are exploited by British and Dutch colonists and slave traders. The daughter of one tribal leader marries a British man for financial expediency, then learns that the “castle” he governs is a holding dungeon for slaves. (When she asks what’s held there, she’s told “cargo.”) The narrative soon alternates chapters between the Ghanans and their American descendants up through the present day. On either side of the Atlantic, the tale is often one of racism, degradation, and loss: a slave on an Alabama plantation is whipped “until the blood on the ground is high enough to bathe a baby”; a freedman in Baltimore fears being sent back South with the passage of the Fugitive Slave Act; a Ghanan woman is driven mad from the abuse of a missionary and her husband’s injury in a tribal war; a woman in Harlem is increasingly distanced from (and then humiliated by) her husband, who passes as white. Gyasi is a deeply empathetic writer, and each of the novel’s 14 chapters is a savvy character portrait that reveals the impact of racism from multiple perspectives. It lacks the sweep that its premise implies, though: while the characters share a bloodline, and a gold-flecked stone appears throughout the book as a symbolic connector, the novel is more a well-made linked story collection than a complex epic. Yet Gyasi plainly has the talent to pull that off: “I will be my own nation,” one woman tells a British suitor early on, and the author understands both the necessity of that defiance and how hard it is to follow through on it.

A promising debut that’s awake to emotional, political, and cultural tensions across time and continents.

Pub Date: June 7, 2016

ISBN: 978-1-101-94713-5

Page Count: 320

Publisher: Knopf

Review Posted Online: March 2, 2016

Kirkus Reviews Issue: March 15, 2016

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