FOR KINGS AND PLANETS

An elegantly rendered coming-of-age tale, set largely in 1970s Manhattan, featuring a decent, duty-bound midwesterner and the mercurial, rather cruel, dangerously charming cosmopolite whose orbit he’s drawn into. At the heart of Canin’s (The Palace Thief, 1994, etc.) story are two profoundly dissimilar young men. Orno arrives in New York in 1974, having come from small-town Missouri to attend Columbia. There, he’s befriended by the sophisticated Marshall Emerson, who is everything Orno isn’t: hip, cynical, blithely creative. He’s also able, faultlessly, to recall every page of every book he’s ever read. Orno grinds away at his studies while Marshall effortlessly garners perfect test scores. Meanwhile, Marshall introduces his friend to life’s pleasures: music, poetry, booze, and women. Only gradually does Orno begin to sense Marshall’s darker side: he discovers that Marshall has spread lies about him, and even worked to sabotage his romance with a follow student. But it isn’t until a disastrous vacation with Marshall’s family on Cape Cod that Orno begins to distance himself. He resumes studying, graduates from Columbia, goes on to dental school, and begins a satisfying romance with Simone, Marshall’s bright, good-hearted sister. Marshall, now a jaded young movie producer, and his parents mobilize to prevent Simone’s marriage to someone, it turns out, they consider a social inferior. Their efforts set in motion a series of revelations about Marshall’s long history of duplicity and instability. Orno’s struggle to come to terms with his erstwhile friend, and his efforts to articulate his own sense of values, are depicted with clarity and subtlety. But while the narrative is deft, it isn’t terribly deep, many of the characters seeming lurid and unsurprising, and the upheavals, culminating in a suicide, predictable. As the story of a dangerous friendship, not on the level of, say, A Separate Peace. But it does feature vigorous prose, a memorably affectionate portrait of Manhattan, and, in Orno, a thoroughly engaging protagonist. (Book-of-the-Month Club/Quality Paperback Club selection; author tour)

Pub Date: Sept. 1, 1998

ISBN: 0-679-41963-2

Page Count: 352

Publisher: Random House

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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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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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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