THE AGE OF WIRE AND STRING

STORIES

It's possible these shouldn't be called ``stories''maybe thought-fictionsbut perhaps it doesn't matter: Marcus's debut volume has a grace, complexity, and literary ambition that put it at the highest rank. Here is a dazzling word-wizardry: always difficult, often exhausting, at times opaque, yet clearly driven by a consistent vision, program, and purpose. ``This book'' (says ``Argument'') ``is a catalog of the life project,'' adding that ``There is no larger task than that of cataloging a culture.'' Indeed. Yet in piece after piecemost a few pages long, many lessMarcus takes up that great task, even his titles offering hints as to the potential ultimacy of his subject: ``The Death of Water,'' ``The Weather Killer,'' ``Automobile, Watchdog,'' ``Outline for a City.'' By turns futuristic (``after the second appearance of 1983''), mock- historic (``One system of dating places their arrival...as early as the wakeful period of 1979''), surrealistic (``often each leg was clothed in a contrasting food style''), lyrically pathetic (``Your man can run, walk, sleep, drink, eat, and, of course, weep and die''), and simultaneously philosophic (``Certain weather is not recognized by the land it is practiced on'') and satiric (``Every year a day was set aside for discussion''), Marcus is extraordinary and boundless in his verbal and imaginative powers. After each grouping of stories (Sleep, God, Food, The House, Animal, Weather, Persons, The Society), a glossary of ``Terms'' is provided, shedding light both back and forward. In one of these, ``Ben Marcus, The''akin to the book written by sameis defined as ``a fitful chart in darkness,'' suggesting a latterday map for survival; and ``Rhetoric'' is defined as ``The art of making truth less believable''thus defining the method of Marcus's book with its mastered legacies from Swift, Beckett, and Barthelme. A rare, genius-struck achievement intended to warn readers into looking at the truth anew; not easy, but filled always with great beauties, high themes, enormous sorrows.

Pub Date: Nov. 2, 1995

ISBN: 0-679-42660-4

Page Count: 144

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1995

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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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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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