SEMAPHORE

The second half of Hawkes’s two-novel debut (following last month’s Surveyor, p. 678) is the haunting tale of a young protagonist’s confused and threatened relationships with his loved ones and his own future. We meet Floridian Joseph Taft as a ten-year-old boy who has been mysteriously mute since birth (“He has the necessary machinery . . . it just isn’t working”) and who is gifted and burdened with the ability not just to see the future but to feel himself experiencing it—for example, his own wedding day and lovemaking with the girl who’ll become his bride. And, most crucially, he “sees— his young sister’s death by drowning in a neighbor’s swimming pool. A panicked effort to thwart her fate (by stealing a dump truck and destroying that pool) is interpreted as an extreme example of Joseph’s adolescent rebelliousness—which, coupled with his refusal to learn “to sign,” widens the distance between him and his compassionate, frustrated parents. Hawkes shifts adroitly among past, present, and future scenes, and he produces several tingling narrative sequences: a home interview with an insensitive “special education” teacher; the comfort offered by a well-meaning minister who tells a wonderfully offbeat story about the power of parental love; a moving “conversation” with Joseph’s younger brother, who begs to be told how his life will turn out; and the novel’s emotional ending, in which kids eager to elude their parents’ sheltering are released for trick-or-treating with Joseph’s (necessarily) unspoken warning and blessing: “Stop, Go, I love you, Come back, Take care, Goodbye. Go on”). This second part of Hawkes’s debut gracefully dramatizes the wary insularity of childhood and youth, the gaps that widen among family members as they age and change, and, even so, their inexplicable and sustaining connectedness. An unusual and imaginative story, one of the year’s most pleasant (together with Surveyor) literary surprises.

Pub Date: Aug. 31, 1998

ISBN: 1-878448-82-X

Page Count: 175

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 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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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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