A harsh but artful study of power, truth and personal integrity.

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THE FALL OF THE STONE CITY

An ironic, sober critique of the way totalitarianism rewrites history, from an Albanian author who’s long been the subject of Nobel whispers.

The novel opens in 1943, as the Nazis are poised to move into Albania, retaking the country from Italy and invading the city of Gjirokastër. The locals are understandably restless, and an advance party is fired upon. Hostages are taken, and bloodshed seems inevitable. But in an effort to calm tensions, a leading doctor, Gurameto, meets with the Nazi commanding officer, Col. Fritz von Schwabe, who also happens to be an old college classmate. The loose plot of Kadare’s novel (The Accident, 2010, etc.) turns on the question of what exactly happened at that meeting. Various theories circulate among the citizenry: the invasion was all about locating and handing over a prominent Jew, Gurameto was angling for a governorship, the Albanians were being punished for their own incursions into Greece, and so on. Through these stories, Kadare explores the way people project their own nationalistic anxieties and prejudices onto every situation; the lyrics of a local bard turn the events into a kind of folklore. Kadare’s omniscient view emphasizes political processes at the expense of characterization, but if we don’t get to know the doctor, the colonel or the residents very well, Kadare is still a potent storyteller, and as the story jumps to 1944 and then to 1953, he reveals the grim consequences of dictatorships on identity. The tail end of the novel focuses on Stalinist interrogators’ efforts to bully and torture the truth about the meeting out of Gurameto, and his refusals don’t symbolize heroism so much as resignation—a realization that the facts will never be clear in the face of anti-democratic thuggery.

A harsh but artful study of power, truth and personal integrity.

Pub Date: Feb. 5, 2013

ISBN: 978-0-8021-2068-7

Page Count: 176

Publisher: Grove

Review Posted Online: Oct. 22, 2012

Kirkus Reviews Issue: Nov. 15, 2012

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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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