An appealingly chaotic—if familiar—look at the inner life of a young “intellectual.”

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BACK TO MOSCOW

A coming-of-age novel set in Moscow, Erades’ debut plays with tropes of student life, literary devotion, and travel.

Oh, to be a young student in love in Moscow, where the girls are angelic and the air smells of…what’s that? Gun powder? Petrol? Vomit? The Moscow that Martin has come looking for doesn’t quite exist anymore. A lover of literature—though also a young man who fakes his way through a lot of reading—he romanticizes an old-world Russian glamour, but in his case, he mostly just falls from bar to bar, bounces from romance to romance. Erades smartly breaks his novel into sections that begin with a description of a famous woman from Russian literature, and these literary women echo the “real” women Martin meets—and is largely unable to understand as human beings, not just figures ripped from pages. Yes, Martin may be playing the role of intellectual, but often these relationships devolve into…well, how would Martin put it? “Fuck you.” (Would Chekhov have said the same?) Martin has a lot of growing up to do, but Erades is always mature, even when his protagonist isn’t, which makes the novel feel different from Fitzgerald’s This Side of Paradise or other coming-of-age stories written while the authors themselves were coming of age. By setting this book in Russia, Erades blunts some of his character’s narcissism: there’s always the shadow of history to contend with. “I thought how different my Moscow was from Chekhov’s Moscow,” Martin muses, going on to describe the “enormous amalgam of buildings and squares and wide avenues.” The novel feels a bit like such an amalgam too, and the worst you could say about it is that it’s untidy, too unruly, too desultory. But then again, Erades’ structure mimics the movement of Martin through the city, through his life—always yearning yet not always heading in the right direction.

An appealingly chaotic—if familiar—look at the inner life of a young “intellectual.”

Pub Date: May 3, 2016

ISBN: 978-0-8654-7837-4

Page Count: 384

Publisher: Farrar, Straus and Giroux

Review Posted Online: Feb. 18, 2016

Kirkus Reviews Issue: March 1, 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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Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...

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THE NICKEL BOYS

The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.

Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.

Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.

Pub Date: July 16, 2019

ISBN: 978-0-385-53707-0

Page Count: 224

Publisher: Doubleday

Review Posted Online: Jan. 21, 2019

Kirkus Reviews Issue: Feb. 1, 2019

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