An often powerful novel about courage and integrity in the face of hate.

ARKANSAS SUMMER

LOVE AND TERROR IN THE JIM CROW SOUTH

In this gripping novel of romance and social consciousness, a white California teenager encounters the effects of racial prejudice in the segregated South of the 1950s.

In 1986 Los Angeles, Hannah Ross is devastated by the death of her father, but her world is turned upside down when her mother, Catherine, decides to share some long-buried family history. Most of the novel that follows takes place in the summer of 1955, as Catherine, a teenage college student, accompanies her father, Ben, to his childhood home in Arkansas to help her recently widowed grandmother, Mama Rae. Ben hasn’t visited the South in more than a decade, largely due to a desire to protect his children from their grandfather’s racist attitudes. The casual cruelty of whites in the Jim Crow South comes as a shock to Catherine, and she soon draws attention for her refusal to participate in it. She also finds herself irresistibly drawn to Jimmy Emerson, the college-aged African-American son of her grandmother’s housekeeper, Sally; he’d been her playmate during past childhood visits to her grandparents’ farm. Despite Ben’s, Mama Rae’s, and Sally’s warnings, they pursue their youthful attraction, and the life-shattering consequences will have repercussions for generations. Moose (Berkeley U.S.A., 1981, etc.) is a compelling storyteller, and this one unfolds with page-turning urgency as she paints a convincingly chilling portrait of white supremacy in a small Southern town. However, some of the characters here seem a bit too good to be true, while others are mere caricatures of evil, so readers looking for a more nuanced cultural study may be disappointed. Even so, readers will genuinely care about Catherine, Jimmy, and their families; the transformation of Mama Rae after her husband’s death is a delight, and the ending is satisfying without tying up its loose ends too neatly. A thoughtful “Author’s Note” with suggested reading about the Jim Crow South follows the text.

An often powerful novel about courage and integrity in the face of hate.

Pub Date: April 9, 2017

ISBN: 978-0-9785232-6-8

Page Count: 308

Publisher: CreateSpace

Review Posted Online: June 21, 2017

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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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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