Same story, different scene.



Chick lit seeks out culture in Ganek’s debut, an art-world romance.

With more than 300 galleries huddled in Chelsea alone, the New York contemporary art scene is bound to get incestuous. So finds Mia McMurray, a budding “gallerina,” or gallery receptionist (they are known, for the most part, for their haughty attitude, good looks and expensive clothes), at the mediocre Simon Pryce Gallery. But Mia fancies herself different from the others—particularly the loathsome Alexis Belkin—and tells herself that she is working at the gallery only to support her own artistic aspirations. Things heat up at the gallery when Simon holds a show for the talented but unknown Jeffrey Finelli, who is hit by a taxi on the night of his art opening. Suddenly, demand for the paintings is high, particularly the masterpiece Lulu Meets God and Doubts Him. The painting is desired by a well-known collector, the classless wife of a nouveau riche businessman and other players, but the painting’s muse, Finelli’s estranged niece, Lulu, comes forward and claims that the piece was promised to her. Lulu and Mia forge an unlikely friendship, and, as Mia is thrust head-on into the world she has long admired largely from the sidelines, her romantic life takes an unexpected turn. After insisting that she wouldn’t date Zach Roberts (a young, smart, handsome art dealer) because he makes his money in the art world, Mia finally, predictably, succumbs to his charms. Meanwhile, Lulu quits her Wall Street job to become a painter and falls in love with a famous young artist, and Mia quits the gallery and becomes a writer. The Finelli changes hands again, selling at auction for a remarkable sum. The contemporary art scene is a fun, juicy setting, but Mia is, if not a typical Gallerina, certainly a typical chick-lit heroine: insipid and entirely predictable.

Same story, different scene.

Pub Date: June 4, 2007

ISBN: 978-0-670-03866-4

Page Count: 288

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 2007

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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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