Enough glimpses of the familiar to make a skin-crawling read. In spite of the taboos being flaunted, this is a remarkable...

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MY LOOSE THREAD

Ever true to his transgressive muse, Cooper opens another shop of horrors suitable to follow his five-novel cycle (Period, 2000, etc.), here coupling sexually involved teenaged brothers with a post-Columbine world skanky enough to strike dread into the heart of any parent of adolescents.

Larry, tormented and confused, thinks he has killed his best buddy Rand with a single punch delivered because his friend seemed to have a thing for his younger brother Jim. Guilt drives him, a year later, to use the punch again, this time to fulfill a contract taken out on a schoolmate—pimped to gays by his mother and slashed by her for her own pleasure—who’s not really keen to live anyway, then buries the boy near the family vacation cabin of his girlfriend Jude. Confusion—about his relationships with Jim, Rand, and his drunken rival Pete—sours his relationship with Jude, whom he suspects of fooling around with Pete. But uncertainty about his sexual identity goes much deeper: Larry also tries to fool around with Pete, takes another male friend on a “date” only to beat him up and let the school’s leading Nazi rape him, and visits the teenaged daughter of his therapist in her bedroom, all the while trying to parse just what is going on between him and Jim. Whatever it is, Jim seems to be on top. Larry learns that he didn’t kill Rand, that in fact Rand committed suicide, and that the other boy he thought he’d killed was actually strangled by Pete. But instead of making him feel better, the news has the result of impelling him to shoot his cancer-ridden dad and drunken mom in their living room—while Jim is on the phone with his therapist.

Enough glimpses of the familiar to make a skin-crawling read. In spite of the taboos being flaunted, this is a remarkable portrait of a soul in hell.

Pub Date: June 1, 2001

ISBN: 1-84195-274-5

Page Count: 128

Publisher: Canongate

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 2002

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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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