The Acts of the Apostles meets The Satyricon—with surprisingly leaden results. Burgess' subject is the clash between the early Christians and Imperial Rome in the years between the resurrection of Christ and the destruction of Pompeii; but the pacing is as sluggish as it was in the gaudy but empty TV mini-series A.D. (also written by Burgess), of which this is essentially the novelization. Burgess' narrator is a retired Roman bureaucrat, equally skeptical about the claims of the Christians to eternal life and the claims of the Roman emperors to divinity. This detachment, which is undoubtedly the author's method for avoiding De Millean, non-Biblical sentimentality, nonetheless prevents the novel from ever catching fire—except in the literal sense, when Vesuvius erupts. In fact, the novel's one solid virtue may be its quirky learning—Burgess' conception of the relationship between Roman eros and Christian agape (spiritual love) is often fascinating. Beyond occasional nuggets of scholarship, however, such as the confusion of "Christus" (annointed) with "Chrestus" (cheerful, dutiful—a popular name for a slave, which led the Romans to assume that Christianity was a slave-cult), the novel offers little that rings true—especially in the area of characterization. Burgess' post-Augustan Romans are reminiscent—too reminiscent—of those in Graves' Claudius the God; and his Christians are either crudely stereotyped (doubting Thomas is rendered with a Scottish accent; Peter shudders every time he hears a cock crowing) or downright unpleasant (fanatical St. Paul is the major Christian character). All in all, Burgess has his eye on too many sources this time, some divine and some from pulpier realms—some Bulwer-Lytton here, some Suetonius there, then add a dash of Ben Hur (one central character is a Jewish radical who becomes a gladiator) and perhaps a touch of another mini-series, Masada. Repetition of central ideas and intercutting of Roman and Christian scenes technically pull the novel together, but, if learned, it's lifeless.

Pub Date: Sept. 23, 1985

ISBN: 0749006722

Page Count: 360

Publisher: Arbor House

Review Posted Online: May 15, 2012

Kirkus Reviews Issue: Aug. 15, 1985

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The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...


Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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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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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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