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BEAUTY

A sexy, unflinching portrait of a woman revolting against the life she makes for herself.

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In this literary novel, an ambitious but conflicted woman navigates the world of fashion while contending with her destructive attraction to sinister men.

When Amy Wong was still in high school, she lost her virginity to a middle-aged shoe salesman in exchange for a pair of $1,250 boots. The event foretold her career as an emerging designer in New York’s competitive fashion industry as well as a love life filled with older, predatory men. At Parsons, her White classmates mutter about affirmative action while the resident design mogul, Jeff Jones, exoticizes Amy’s Chinese heritage. That doesn’t keep her from sleeping with him, and, in fact, she agrees to marry him shortly after graduation. Everyone assumes she just did it to get ahead, but it isn’t long before she has ceased to be an up-and-coming designer and gets sidelined into being a wife and a mother to Jeff’s difficult child. Or, at least, she hopes he’s Jeff’s: “Maybe Jeff sensed it, somehow, or maybe he fell into his old patterns. He started to look elsewhere. He came home reeking of sex and Coco Mademoiselle. Fashion is a small industry. Everyone knew, which made me feel all the more helpless and ashamed.” Because of a prenup, Amy is forced to find a job after the marriage fails. Forget about making her mark on the industry; now, she just has to find a way to survive in it. Unfortunately for her, continued difficulties with her son, Alex, as well as further complications with the men in her life create even more drama. As she tries to navigate a world rife with subtle racism and flagrant sexism, Amy must also contend with her sexual appetites, her guilty motherhood, and the self-loathing that has always sabotaged her depthless creativity.

The book reads with the ease of a beach novel. Chiu’s prose rolls like fabric and pricks like a pin, piercing the politeness that covers up the deeper ugliness of nearly every social interaction. Here, Jeff attempts to correct Amy’s vision of him, just as she decides she might want to love him: “ ‘And that night,’ he says. ‘That wasn’t really me.’ I start to laugh. ‘You mean racist?’ ‘I was coked-up, high.’ He rolls his eyes. ‘So you’re not really racist,’ I say. ‘Only the coked-up you is racist?’ ‘Something like that, yes,’ he smirks.” Amy is a memorably intricate character, empathetic even as she is impulsive and sometimes thoughtless. The author deftly evokes the intensity of Amy’s desires—both physical and aesthetic—drawing readers along for every bad idea and moment of rebellion. The fashion world is depicted with luminous specificity—and, as a metaphorical field, it is perfectly selected—but Amy’s story will resonate for those operating in any industry in which the complex layers of race, gender, access, and propriety can complicate a woman’s every action. It’s a coming-of-age story that never stops, revealing how the decisions of youth reverberate and reoccur throughout the decades of a life.

A sexy, unflinching portrait of a woman revolting against the life she makes for herself.

Pub Date: May 1, 2020

ISBN: 978-1-73377-775-9

Page Count: 278

Publisher: Santa Fe Writers Project

Review Posted Online: July 9, 2020

Kirkus Reviews Issue: Sept. 1, 2020

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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COOL MACHINE

From the Harlem Trilogy series , Vol. 3

A master novelist in full command of his powers as a storyteller, prose stylist, and social observer.

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Whitehead’s justly celebrated Harlem Trilogy comes to a triumphant, satisfying conclusion.

The two-time Pulitzer Prize winner has brought his decades-long saga of furniture retailer and part-time criminal fence Ray Carney into the 1980s, a time of starkly mixed blessings for a New York City galvanized by reckless real estate development, plagued with widespread homelessness, and immersed in crime and corruption of gaudy proportions. As with its two predecessors, Harlem Shuffle (2021) and Crook Manifesto (2023), this installment carves its historic period into three self-contained but interwoven stories set in three different years. The first takes place in 1981, when Ray, flush with pride over being named Sterling Furniture’s “Northeast Regional Dealer of the Month,” is confounded when wife Elizabeth is denied a loan for her travel business. So, to get her the money she needs, he joins a crew led by the redoubtable Uncle Rich, a legendary thief, embarking on a near-impossible heist at the Waldorf Astoria. Elizabeth also spearheads the second installment, which takes place two years later, when she recruits the dyspeptic Pepper, Ray’s friend and sometime coconspirator, as bodyguard for a jittery art dealer carrying a valuable African mask. When that object goes missing, Pepper and a hip young woman bearing a mohawk haircut and combat boots wander the seedier streets of Manhattan to locate it, crossing paths with a “Melancholy Hitman” also frantically pursuing the mask and leaving mutilated corpses in his wake. In the final section, taking place in 1986, Ray struggles to fulfill a posthumous obligation to his ill-fated cousin, Freddie, by using all his hard-earned wiles as salesman and felon to save Freddie’s son, Robert, from being framed (or worse) in the murder of a bent Queens lawyer. It’s as improbable as packing three page-turning thrillers into one book that’s sustained throughout by rich, engaging characterizations and lucid, provocative reflections on a community, a city, and a people it presents as both exasperating and captivating with equal intensity.

A master novelist in full command of his powers as a storyteller, prose stylist, and social observer.

Pub Date: July 21, 2026

ISBN: 9780385550505

Page Count: 368

Publisher: Doubleday

Review Posted Online: May 4, 2026

Kirkus Reviews Issue: June 1, 2026

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