Means' first novel is a compelling portrait of an imagined counterhistory that feels entirely real.

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HYSTOPIA

In an alternative universe, John F. Kennedy was not killed in Dealey Plaza, but America is riven by Vietnam nonetheless.

Means has made a career writing deeply rendered short fiction: four collections, including The Spot (2010) and Assorted Fire Events (2000). His work is precise, relentless, unsentimental, an art of missed opportunities and missed connections, tracing, more than anything, the inevitability of loss. These same themes mark his first novel but in a manner we haven’t seen before. It’s not just the difference between long and short, although one of the pleasures of this dark and complex work is to see Means stretch out. Even more, however, it’s the novel’s manic energy, its mix of realism and satire, set in an alternative universe where Kennedy survived Dallas (and several other attempts on his life) to become a public martyr–in-the-making, “driving around in an open limo, with Jackie at his side, doing the hand-wave, the little movement, half-hearted, just a flick of the wrist, all slo-mo, the way the motorcade moved.” Kennedy is an ambiguous figure, architect of a failed Vietnam strategy that has led him to create the Psych Corps, a federal bureaucracy dedicated to wiping out the memories of returning veterans. The novel involves two such vets: Rake, who embarked on a Charlie Starkweather–type killing spree with his young girlfriend, and Singleton, an agent who must track the killer down. That’s the traditional part of the story, but this is not a traditional narrative. Rather, it offers a mélange of reference points—Starkweather, John Kennedy Toole (the novel is constructed as a book within a book, written by a suicide), and even, with its editor’s notes and contextual material, Nabokov—set in a world that has unraveled in its own apocalyptic way. One unintended irony is the role of Flint, Michigan, devastated by fire and environmental degradation, where part of the novel is set. But Means is less interested here in where we are going than where we have been. “Don’t accuse the kid of bending history,” he insists. “Accuse history of bending the kid. And the war, the war bent him, too. Like so many, he came back changed.”

Means' first novel is a compelling portrait of an imagined counterhistory that feels entirely real.

Pub Date: April 19, 2016

ISBN: 978-0-86547-913-5

Page Count: 320

Publisher: Farrar, Straus and Giroux

Review Posted Online: Feb. 4, 2016

Kirkus Reviews Issue: Feb. 15, 2016

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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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More Hallmarkiana, from a shameless expert in the genre.

THE RESCUE

High-stakes weepmeister Sparks (A Walk to Remember, 1999, etc.) opts for a happy ending his fourth time out. His writing has improved—though it's still the equivalent of paint-by-numbers—and he makes use this time of at least a vestige of credible psychology.

That vestige involves the deep dark secret—it has something to do with his father's death when son Taylor was nine—that haunts kind, good 36-year-old local contractor Taylor McAden and makes him withdraw from relationships whenever they start getting serious enough to maybe get permanent. He's done this twice before, and now he does it again with pretty and sweet single mother Denise Holton, age 29, who's moved from Atlanta to Taylor's town of Edenton, North Carolina, in order to devote her time more fully to training her four-year-old son Kyle to overcome the peculiar impediment he has that keeps him from achieving normal language acquisition. Okay? When Denise has a car accident in a bad storm, she's rescued by volunteer fireman Taylor—who also rescues little Kyle after he wanders away from his injured mom in the storm. Love blooms in the weeks that follow—until Taylor suddenly begins putting on the brakes. What is it that holds him back, when there just isn't any question but that he loves Denise and vice versa-not to mention that he's "great" with Kyle, just like a father? It will require a couple of near-death experiences (as fireman Taylor bravely risks his life to save others); emotional steadiness from the intelligent, good, true Denise; and the terrible death of a dear and devoted friend before Taylor will come to the point at last of confiding to Denise the terrible memory of how his father died—and the guilt that's been its legacy to Taylor. The psychological dam broken, love will at last be able to flow.

More Hallmarkiana, from a shameless expert in the genre.

Pub Date: Sept. 19, 2000

ISBN: 0-446-52550-2

Page Count: 352

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 2000

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