A book that attempts to walk the thin line between the trite and the profound—and sometimes succeeds.

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THE MUSEUM OF MODERN LOVE

Artist Marina Abramovic's marathon 2010 performance at the Museum of Modern Art becomes the focus of Rose’s tremblingly earnest novel, the Australian writer’s first novel for adults to be published in the U.S.

“This is not a story of potential,” announces the ominously angelic narrator who hovers over the novel, half muse and half ghost. “It is a story of convergence.” And so we meet Arky Levin, a noted composer of film scores, who has found himself unmoored after separating from his beloved wife. The circumstances are complicated: Incapacitated from a genetic condition, she has retreated to a home in the Hamptons, given their medical-student daughter power of attorney, and ordered Arky never to see her. It is in this state that he finds his way to MoMA, where Abramovi? is staging The Artist Is Present, for which she sits, still and in silence, as audience members take turns sitting across from her. There he meets Jane, a tourist and recent widow transfixed by the performance. She is not alone. There is Brittika, a Dutch graduate student writing her dissertation on Abramovic. There is Healayas, an art critic and old friend of Arky’s—once, she was the girlfriend of his longest-time collaborator, who betrayed them both. The performance is the gravitational pull of the novel, the point of convergence; no one emerges unchanged. Abramovic, too, is a character here: Large swathes of the book contend with her childhood and previous work, situating The Artist Is Present in her past. (Abramovic gave Rose permission to use her as a character.) It’s a bold proposition—Rose does not shy away from grappling with questions about the meaning and purpose of art—but too often, the answers to those questions tend to feel like platitudes about art and suffering. “Art will wake you up,” Abramovic’s childhood tutor announces. “Art will break your heart.” Art, Jane muses, offers “a kind of access to a universal wisdom.” The real power of the book, though, lies not in its philosophizing but in the unsteady tenderness between its characters.

A book that attempts to walk the thin line between the trite and the profound—and sometimes succeeds.

Pub Date: Nov. 27, 2018

ISBN: 978-1-61620-852-3

Page Count: 304

Publisher: Algonquin

Review Posted Online: Sept. 2, 2018

Kirkus Reviews Issue: Sept. 15, 2018

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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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