An unappealing mix of empty slapstick and soapboxing.


Liberty Call... Port of Spain

A Three Stooges–like comedy with a dash of social philosophy.

Before readers can get to the story, they are presented with an awkward series of introductory sections—a dedication, an acknowledgment that encourages people to follow their dreams, a “Meet the Author” section that details the author’s proposed business ventures and inventions, a list of hobbies, a list of milestones in the author’s life, and a “Disclaimer” that explains the book consists of “thoughts that have crossed the minds of many generations gone on before us, those with us, and those to come”—none of which has much to do with what follows. Then the story itself is a jumble. It centers on the misadventures of four military buddies, Barry, Ken, Alfred and Greg—the latter three are described as “misfits”—who try the patience of their commanding officer by pulling pranks and acting like children. Most of the novel is straight exposition without much detail. Azreay’l writes of the trio, “Almost daily, they have pulled pranks on the commanding officer, executive officer, and most senior officers.” Only a few pranks are mentioned after that, including a hackneyed gag involving the running of underwear up a flagpole. Descriptions tend to be unnatural; at one point, a character’s tears “splash” on a table and, later on, a room “quietly grew to a whisper.” Much of the humor is derived from characters bumping into things or inexplicably falling down. The characters spend a lot of time laughing, ostensibly to indicate where readers should be laughing, too. But the dialogue is wooden, especially in comedy club scenes in the beginning and end in which the comedians mostly do crowd work, yelling at the audience or hitting on women among them. Elsewhere, there are long stretches of characters spouting one-sided rhetoric that comes off a bit unnaturally, as when comedian Keyonton bristles at an accusation of gay bashing—“I am not gay bashing, if anything I am word bashing. I am not the one who has power to say it is right or wrong, but if He says it is wrong, then that is good enough for me to know that it’s wrong in His sight”—or when Barry and Ken complain about Republicans “putting it to the middle and lower class” that year.

An unappealing mix of empty slapstick and soapboxing.

Pub Date: Aug. 12, 2013

ISBN: 978-1483672915

Page Count: 320

Publisher: Xlibris

Review Posted Online: March 9, 2015

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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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More Hallmarkiana, from a shameless expert in the genre.


High-stakes weepmeister Sparks (A Walk to Remember, 1999, etc.) opts for a happy ending his fourth time out. His writing has improved—though it's still the equivalent of paint-by-numbers—and he makes use this time of at least a vestige of credible psychology.

That vestige involves the deep dark secret—it has something to do with his father's death when son Taylor was nine—that haunts kind, good 36-year-old local contractor Taylor McAden and makes him withdraw from relationships whenever they start getting serious enough to maybe get permanent. He's done this twice before, and now he does it again with pretty and sweet single mother Denise Holton, age 29, who's moved from Atlanta to Taylor's town of Edenton, North Carolina, in order to devote her time more fully to training her four-year-old son Kyle to overcome the peculiar impediment he has that keeps him from achieving normal language acquisition. Okay? When Denise has a car accident in a bad storm, she's rescued by volunteer fireman Taylor—who also rescues little Kyle after he wanders away from his injured mom in the storm. Love blooms in the weeks that follow—until Taylor suddenly begins putting on the brakes. What is it that holds him back, when there just isn't any question but that he loves Denise and vice versa-not to mention that he's "great" with Kyle, just like a father? It will require a couple of near-death experiences (as fireman Taylor bravely risks his life to save others); emotional steadiness from the intelligent, good, true Denise; and the terrible death of a dear and devoted friend before Taylor will come to the point at last of confiding to Denise the terrible memory of how his father died—and the guilt that's been its legacy to Taylor. The psychological dam broken, love will at last be able to flow.

More Hallmarkiana, from a shameless expert in the genre.

Pub Date: Sept. 19, 2000

ISBN: 0-446-52550-2

Page Count: 352

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 2000

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