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BORN BARRON

A hard-hitting, riveting tale of the dangers of affluence and social disparities.

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Kane debuts with a novel about a 23-year-old woman who grew up poor and later gets a taste of a childhood friend’s seductive wealthy life.

Shane Lacy is barely making ends meet in a tiny apartment somewhere in America. She and Jake, her husband of five years, each work multiple jobs and hardly see each other. But it’s Jake who goes on vacation—a two-week hunting and fishing trip with family and friends. Shane plans to spend that time alone until she learns her estranged mother, Agnes, isn’t doing well. She hasn’t seen or heard from Agnes for almost as long as she’s been married. She has no fond memories of her childhood; her mom took in strays (animals and hapless boyfriends), often leaving Shane to fend for herself. But in returning to care for a shockingly malnourished Agnes, Shane reunites with her former bestie, Simone Barron, whose rich father died mere days earlier—in prison. Shane seemingly blames herself for the so-called (and initially cryptic) Barron scandal, claiming she left her hometown after “ruining everyone’s life.” Simone, however, welcomes Shane into her affluent world of lavish Ritz-Carlton digs and parties with foie gras and escargots. There’s also dashing Sebastian Kane, who entices Shane with exhilarating sex. She spends her Jake-free weeks enamored of Sebastian and a lifestyle free of financial worries and discontent. But not everything is as glorious as it appears; signs point to someone’s possible deceit, while retaining an upper-class standing comes at a price Shane may not be willing to pay.

Characters in Kane’s book range from unlikable to outright detestable. Jake, for example, expects Shane to squeeze baking muffins for his trip into her busy schedule, and one of Simone’s wealthy friends is a blatant racist. The author nevertheless excels at developing the motley cast. Shane winds up babysitting for Simone’s young daughter, Vivi, a sweet girl who, oddly, rarely speaks. The protagonist also befriends Sam, a homeless man with a vivid backstory and a startling secret. Shane, meanwhile, is both sympathetic and believable. She certainly has her flaws, but her sometimes-harsh demeanor is a constant reminder of the rough life she’s endured. It’s further indicative of the nitwits she deals with daily, like her bar-owner boss who leaves his one-night stands for Shane to send away. Her first-person narration reads convincingly, the voice of an outsider among the “überwealthy.” She describes stepping onto a yacht: “It’s modern and cozy, sexy, sleek, and warm all at once. I forgot my shoes at the beach in my drunken stupor and feel incredibly stupid walking around with sandy feet all over the shiny floors for as far as I can see.” It’s a dreary story overall, even when there’s humor. Agnes’ insistence that Shane’s father is one of the “Tom” celebrities (Brokaw, Selleck, etc.) is funny but also gives credence to Shane’s implication that her mother is clinically insane. The ending packs a punch even if some readers will see it coming.

A hard-hitting, riveting tale of the dangers of affluence and social disparities.

Pub Date: Sept. 10, 2021

ISBN: 978-1-951568-16-0

Page Count: 406

Publisher: Small Batch Books

Review Posted Online: Jan. 17, 2022

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I WHO HAVE NEVER KNOWN MEN

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In this futuristic fantasy (which is immediately reminiscent of Margaret Atwood's The Handmaid's Tale), the nameless narrator passes from her adolescent captivity among women who are kept in underground cages following some unspecified global catastrophe, to a life as, apparently, the last woman on earth. The material is stretched thin, but Harpman's eye for detail and command of tone (effectively translated from the French original) give powerful credibility to her portrayal of a human tabula rasa gradually acquiring a fragmentary comprehension of the phenomena of life and loving, and a moving plangency to her muted cri de coeur ("I am the sterile offspring of a race about which I know nothing, not even whether it has become extinct").

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Pub Date: May 1, 1997

ISBN: 1-888363-43-6

Page Count: 224

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 1997

Categories:
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ANITA DE MONTE LAUGHS LAST

An uncompromising message, delivered via a gripping story with two engaging heroines.

An undergraduate at Brown University unearths the buried history of a Latine artist.

As in her bestselling debut, Olga Dies Dreaming (2022), Gonzalez shrewdly anatomizes racial and class hierarchies. Her bifurcated novel begins at a posh art-world party in 1985 as the title character, a Cuban American land and body artist, garners recognition that threatens the ego of her older, more famous husband, white minimalist sculptor Jack Martin. The story then shifts to Raquel Toro, whose working-class, Puerto Rican background makes her feel out of place among the “Art History Girls” who easily chat with professors and vacation in Europe. Nonetheless, in the spring of 1998, Raquel wins a prestigious summer fellowship at the Rhode Island School of Design, and her faculty adviser is enthusiastic about her thesis on Jack Martin, even if she’s not. Soon she’s enjoying the attentions of Nick Fitzsimmons, a well-connected, upper-crust senior. As Raquel’s story progresses, Anita’s first-person narrative acquires a supernatural twist following the night she falls from the window of their apartment —“jumped? or, could it be, pushed?”—but it’s grimly realistic in its exploration of her toxic relationship with Jack. (A dedication, “In memory of Ana,” flags the notorious case of sculptor Carl Andre, tried and acquitted for the murder of his wife, artist Ana Mendieta.) Raquel’s affair with Nick mirrors that unequal dynamic when she adapts her schedule and appearance to his whims, neglecting her friends and her family in Brooklyn. Gonzalez, herself a Brown graduate, brilliantly captures the daily slights endured by someone perceived as Other, from microaggressions (Raquel’s adviser refers to her as “Mexican”) to brutally racist behavior by the Art History Girls. While a vividly rendered supporting cast urges Raquel to be true to herself and her roots, her research on Martin leads to Anita’s art and the realization that she belongs to a tradition that’s been erased from mainstream art history.

An uncompromising message, delivered via a gripping story with two engaging heroines.

Pub Date: March 5, 2024

ISBN: 9781250786210

Page Count: 352

Publisher: Flatiron Books

Review Posted Online: Nov. 18, 2023

Kirkus Reviews Issue: Dec. 15, 2023

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