Schulman (P.S., 2004, etc.) succeeds in creating an identifiable emotional landscape out of an incomprehensible tragedy.

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A DAY AT THE BEACH

On September 11, a Manhattan family escapes to the Hamptons as the Twin Towers fall.

Gerhard and Suzannah Falktopf are a famously bohemian downtown couple—he a German émigré and world-renowned choreographer, she a Bronx ballerina and his muse of many years. They live in an art-filled loft with their four-year-old son Nikolai, but all is not well with the family. Gerhard’s dance company (and perhaps the copyright to his choreography) has been usurped by the company’s board of directors, and Suzannah is preoccupied with Nikolai (who shows signs of autism) and the judgment of the other mothers in the park. The day’s early-morning hours are spent carrying out routines and dealing with petty irritations. Gerhard is arguing on the phone with his lawyer; Suzannah is caring for Nikolai; Celine, their beautiful and inept au pair, is sleeping off another night of partying. And then through their window they see the first tower on fire. To Schulman’s credit, the lengthy description of their shock and incredulity as the horror unfolds is at once familiar and fresh. Gerhard insists on leaving the city immediately and heads for the bank and their car. While withdrawing money, he stumbles upon a vacationing French woman, Martine, and her infant cowering in the corner; her husband was going to the World Trade Center, and now she fears the worst. He takes her with them, and the dumbstruck group head for a borrowed house in the Hamptons. The beach is beautiful, the locals are dazed and Suzannah and Gerhard go their separate ways for this fateful day, he attending to Martine, Suzannah confronting Nikolai’s disability and the future of her marriage. A largely interior novel, the almost unbroken narrative moves from exposition to the events of the day, from the reflective to the frantic, resulting in a compelling portrait of the vain Falktopfs confronting something more important than their own self-indulgent concerns.

Schulman (P.S., 2004, etc.) succeeds in creating an identifiable emotional landscape out of an incomprehensible tragedy.

Pub Date: June 1, 2007

ISBN: 0-618-74654-4

Page Count: 224

Publisher: Houghton Mifflin

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: March 1, 2007

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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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An exuberant comic opera set to the music of life.

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DEACON KING KONG

The versatile and accomplished McBride (Five Carat Soul, 2017, etc.) returns with a dark urban farce crowded with misjudged signals, crippling sorrows, and unexpected epiphanies.

It's September 1969, just after Apollo 11 and Woodstock. In a season of such events, it’s just as improbable that in front of 16 witnesses occupying the crowded plaza of a Brooklyn housing project one afternoon, a hobbling, dyspeptic, and boozy old church deacon named Cuffy Jasper "Sportcoat" Lambkin should pull out a .45-caliber Luger pistol and shoot off an ear belonging to the neighborhood’s most dangerous drug dealer. The 19-year-old victim’s name is Deems Clemens, and Sportcoat had coached him to be “the best baseball player the projects had ever seen” before he became “a poison-selling murderous meathead.” Everybody in the project presumes that Sportcoat is now destined to violently join his late wife, Hettie, in the great beyond. But all kinds of seemingly disconnected people keep getting in destiny's way, whether it’s Sportcoat’s friend Pork Sausage or Potts, a world-weary but scrupulous white policeman who’s hoping to find Sportcoat fast enough to protect him from not only Deems’ vengeance, but the malevolent designs of neighborhood kingpin Butch Moon. All their destines are somehow intertwined with those of Thomas “The Elephant” Elefante, a powerful but lonely Mafia don who’s got one eye trained on the chaos set off by the shooting and another on a mysterious quest set in motion by a stranger from his crime-boss father’s past. There are also an assortment of salsa musicians, a gentle Nation of Islam convert named Soup, and even a tribe of voracious red ants that somehow immigrated to the neighborhood from Colombia and hung around for generations, all of which seems like too much stuff for any one book to handle. But as he's already shown in The Good Lord Bird (2013), McBride has a flair for fashioning comedy whose buoyant outrageousness barely conceals both a steely command of big and small narrative elements and a river-deep supply of humane intelligence.

An exuberant comic opera set to the music of life.

Pub Date: March 3, 2020

ISBN: 978-0-7352-1672-3

Page Count: 384

Publisher: Riverhead

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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