SERIAL KILLER DAYS

A second satire from Prill (The Unnatural, 1995), who now tries to squeeze humor from the notion that a small Minnesota town has made a tourist attraction out of an annual visit by an anonymous serial killer. Every summer for 21 years, the town of Standard Springs has seen one of its citizens knocked off in grisly fashion by a mysterious murderer—but instead of weeping, the spunky citizenry has made an annual festival of the event. The weeklong celebration kicks off with a 5K Run For Your Life, continues with sold-out performances of the musical The Sound of Maniacs, and culminates with a Scream Queen beauty pageant and a Fear Parade down Main Street on the night the murder takes place. Pretty young Debbie Morning has longed since childhood to become the Scream Queen, but in her last year of competition, at age 18, she realizes it may just be too late. Debbie's problem is that no matter how hard she tries, she can't quite make herself afraid of anything, and her sunny nature shows up only too well in the scream competition that defines the pageant. This year, she enlists aid wherever she can find it—at scary drive-in movies, in a midnight trip to the evil ``Cities,'' even from the ghoulish cousin of her screaming tutor. When nothing works, poor Debbie is inconsolable, until she stumbles across a mysterious stranger, who turns out to be the reclusive Ole Rimbaud, her favorite poet—the man whose work she plans to recite in the talent division of the Scream Queen pageant! Could this scruffy interloper be the serial killer the town has searched for all these years? And if he is, the town elders wonder, might it be better to let him go on killing, so that Serial Killer Days might live? An occasionally amusing send-up of small-town life, but the premise wears thin much too soon.

Pub Date: June 11, 1996

ISBN: 0-312-14411-3

Page Count: 208

Publisher: St. Martin's

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1996

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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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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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