A genial novel that will appeal to those who share the protagonist’s musical interests.

MISS MISERY

A New York hipster falls victim to a unique case of identity theft in this High Fidelity–esque debut novel.

David Gould is a Brooklyn freelance writer in his twenties, but he’s in the midst of what feels a lot like a midlife crisis. His girlfriend, Amy, has left to take a job at The Hague, and he’s dangerously close to missing the deadline on a book he’s contracted to write about online journals. “Diaries didn’t come with locks on them anymore,” David observes, “they came with stadium seating.” David is seduced by one diary in particular, written by recent New York transplant Cath Kennedy, aka Miss Misery. Her chronicle of Manhattan club-hopping prompts David to invent his own impossibly hip online persona. David’s diary is promptly hacked into, and the hacker, who happens to look like David, soon begins dating Cath. Though the absurd plot, which also involves a 17-year-old stalker on David’s buddy list, threatens at every turn to let this story flounder as a weightless coming-of-age comedy, David is an appealingly earnest hero. Greenwald includes copies music references, and readers who have a passing familiarity with college-radio luminaries might enjoy the vibe here more than others; it helps if you, like David, think it’s a little odd to put LCD Soundsystem and Jandek on the same mix CD. But all readers will groan at Greenwald’s use of minority characters as opportunities for clichéd bits of comic relief, and for all of David’s adventures—in nightclubs, at parties—his concluding revelations ultimately feel shallow.

A genial novel that will appeal to those who share the protagonist’s musical interests.

Pub Date: Jan. 1, 2006

ISBN: 1-4169-0240-6

Page Count: 400

Publisher: Gallery Books/Simon & Schuster

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 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 strict report, worthy of sympathy.

THE CATCHER IN THE RYE

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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