AMSTERDAM

Winner of this year’s Booker Prize, McEwan’s latest (Black Dogs, 1992; Enduring Love, 1998) is a smartly written tale that devolves slowly into tricks and soapy vapors. When she dies of a sudden, rapidly degenerative illness, London glamour photographer Molly Lane is married to rich British publisher George Lane, although numerous erstwhile lovers still live and stir in the controversial Molly’s wake. These high- visibility figures include internationally famed composer Clive Linley, racing now to complete his overdue magnum opus, a new symphony for the millennium; his close friend Vernon Halliday, the liberal, ambitious, idealistic editor of a London newspaper that’s struggling hard to keep its readership; and right-winger Thatcherite Julian Garmony, now Britain’s foreign secretary. The daily lives of these three high-profilers—though mostly of Clive and Vernon, who receive the main focus—are nothing if not interesting in the capable hands of McEwan, who shows himself more than plentifully knowledgeable in the details of journalism and music, describing with a Masterpiece Theater color and exactness the torments of composition and the rigors of keeping a big newspaper in business. The machinery of plot gradually takes over, though, when George finds, in Molly’s left-behind things, three wildly incriminating sex-photos of the foreign secretary—and makes them available to Vernon Halliday, for whom the idea of bringing down the conservative Garmony (who’s considering a run for PM) by publishing the pictures is irresistible. This plan of massive public humiliation, however, offends Clive Linley, who thinks of it as a deep betrayal of the dead Molly, and bitterness rises like a serpent in the Clive-Vernon friendship, hardly put to rest when Vernon learns of something morally dubious that Clive’s just done—and that could, in fact, be made a nifty tool of revenge. And so things progress via trick, counter-trick, and backfire, in a novelistic try for a big ending that just gets littler instead. Middle-brow fiction British style, strong on the surface, vapid at the center.

Pub Date: Dec. 1, 1998

ISBN: 0-385-49423-8

Page Count: 208

Publisher: Nan A. Talese

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 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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