A lean and angry work, anchored by a mellowing sense of self-discovery.

THE QUITTER

Pekar digs deep into his childhood to find the roots of his desperate fear of failure.

Anyone who’s read even a few pages of Pekar’s voluminous ongoing graphic biography, American Splendor, knows that they’re not dealing with a happy man. What they might be a little taken aback to learn, after reading this book, is just how exceptionally angry he is. This is a guy who grew up using his fists almost as often as his tirade-prone mouth. Given a bright, dramatic graphic treatment by Haspiel, this depicts Pekar growing up after World War II in Mount Pleasant, a Jewish and Italian Cleveland neighborhood that was becoming predominantly African-American. Pekar, just about the only white kid on the street, routinely gets into street fights. By the time he gets to high school, far from developing a sensitive artistic temperament, all he wants is to be a fighter, and he goes out of his way looking for guys to wallop. At the same time, his crippling insecurities start to take hold, and he begins to sabotage himself time and again, all to avoid failure. Once out in the working world, he keeps screwing around and acting the clown, behavior that could come as a surprise to those familiar only with his more dour later work (Pekar, it seems, wasn’t always a grumpy old man). Eventually, the more familiar elements of his life are brought together: the brief flirtation with beatnik hipsterdom, the series of dead-end jobs, the continual, torturous worry about money and respect. It’s all handled with Pekar’s usual self-mocking, breezy forthrightness, as though he’s got no time to mess around by playing nice. One frame shows him peering anxiously into his mailbox, wondering, “Boy, I’d a thought someone would’ve written me a letter about my new book by now.”

A lean and angry work, anchored by a mellowing sense of self-discovery.

Pub Date: Oct. 5, 2005

ISBN: 1-4012-0399-X

Page Count: 104

Publisher: Vertigo/DC Comics

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 2005

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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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