An entertaining page-turner that, while somewhat pat in its treatment of racial politics, provides a satisfying emotional...

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HUM IF YOU DON'T KNOW THE WORDS

The paths of a young white girl and a black woman intersect when the violence of apartheid shatters both their lives.

Set in Johannesburg, Marais’ debut novel centers on Beauty Mbali and 9-year-old Robin Conrad, each of whom is impacted by the 1976 Soweto Uprising, in which white police officers opened fire on peacefully protesting black schoolchildren. Robin’s parents are killed in the backlash, while Beauty’s daughter, Nomsa, goes missing from her Soweto school after taking part in the uprising. Beauty’s search for Nomsa leads her to Robin’s aunt, who hires Beauty as a caretaker for Robin so she can remain in the city and continue her quest to find her daughter. Because Robin is a child who has suffered traumatic loss (rendered in poignant, vivid detail), it's hard to feel anything but sympathy for her even when her selfish decisions have grave consequences for her beloved Beauty. While the novel goes to admirable lengths to treat every member of its diverse supporting cast with complexity through copious dialogue and at least a hint of a back story for each, the characters can feel like types (the liberated single career woman, the liberal Jewish family, the kindly gay best friend, the helpful mixed-race janitor) meant to give proof of the novel's pro-equality intentions. Moreover, Robin’s declarations about racism (“it’s easier to treat people terribly if you tell yourself they’re nothing like you”) are at once too sophisticated for a child and too simplistic to be the novel’s main message. To the novel’s credit, the double point of view structure adds nuance and depth to the twice-told scenes, and the story never fails to create a sense of urgency at every narrative development. Apart from her occasional philosophizing, Robin's character is a refreshingly accurate and often downright hilarious portrayal of girlhood.

An entertaining page-turner that, while somewhat pat in its treatment of racial politics, provides a satisfying emotional journey.

Pub Date: July 11, 2017

ISBN: 978-0-399-57506-8

Page Count: 432

Publisher: Putnam

Review Posted Online: April 18, 2017

Kirkus Reviews Issue: May 1, 2017

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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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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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