Kirshenbaum offers many finely nuanced moments and raises unexpected moral issues—about Germany and the Jews, about the...



The story of two lovers whose lives are profoundly shaken by echoes of the Holocaust: a German medievalist and the woman who, while writing his biography, falls in love with him.

Born and raised in New York City, Hester Rosenfeld quickly discarded the embarrassing ways of her Jewish immigrant parents, with their longing to become, in her eyes sentimentally, “American.” Since leaving them behind, she has risen through the academy and even achieved modest commercial success with her “kitchen table histories”—featuring the everyday lives of unremarkable people. Though her specialty has been Colonial America, she meets Heinrich Falk (b. 1943)—referred to throughout as HF—and is mesmerized by his steely German good looks. The sex, as in most Kirshenbaum fictions (Pure Poetry, 2000, etc.), is earth-moving, and Hester happily adopts the role of official mistress to the married Falk, even as she researches the history of his numerous past infidelities, quartet of marriages, and irrepressible womanizing. As it happens, Falk has no official, verifiable Nazi darkness in his past—a brother in the Hitler Youth who possibly engaged in terrorism, an aunt who joined the Nazi party early—yet when Falk, overtired and frustrated, cautions Hester against seeming to be “a greedy Jew,” she realizes she cannot abide him any longer. During her research, she comes to terms with aspects of her own ambivalence toward her parents (she learns they were forced to flee Falk’s hometown of Munich) but resists Falk’s attempts to get her to look closely at her own past. Hester and Falk angrily part ways, having realized that they—and their histories—are forever irreconcilable.

Kirshenbaum offers many finely nuanced moments and raises unexpected moral issues—about Germany and the Jews, about the nature of history and biography—but this is not a novel of strenuous moral purpose. It'll be most enjoyed for its agile style and Hester’s distinctively intelligent voice.

Pub Date: Feb. 1, 2001

ISBN: 0-393-04152-2

Page Count: 288

Publisher: Norton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 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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A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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