Even the staunchest fans of the Santangelo family may be disappointed with this rather thin addition to the saga.

CONFESSIONS OF A WILD CHILD

Collins (The Power Trip, 2013, etc.) returns with the story of her beloved Lucky’s teenage years. 

Growing up in the lap of luxury isn’t what it’s cracked up to be. Despite living in a palace replete with tennis courts and servants to attend to her every whim, Lucky realizes that she and her brother, Dario, are just prisoners in a posh jail. Certainly her mobster father, Gino, wants to keep his children safe (after all, their mother was murdered in the swimming pool), but at 15, Lucky is already champing at the bit to live a little more on the wild side. Ironically, being sent to an elite boarding school in Switzerland is her big chance. At L’Evier, she meets Olympia Stanislopoulos, who quickly initiates her into the dark arts of smoking, drinking and sneaking out to meet boys. Sexually curious, Lucky is eager to practice “almost.” Soon enough, Lucky is kicked out of school, angering Gino, who ships her off to another school, where the shenanigans resume. Lucky stews over her crush on Marco (her father’s driver), Gino indulges in an affair with a movie star (the delightfully named Marabelle Blue), Dario begins a potentially dangerous affair, and Olympia drags Lucky into more trouble. Despite all the (not particularly explicit) action, Lucky’s tale has a fairly flat plotline. Part of the trouble in building tension lies with Lucky’s own gimlet-eyed stoicism. She is, indeed, her father’s daughter, and nothing will distract her from her ultimate goal of becoming Gino’s successor. Even the potentially catastrophic arranged marriage to a senator’s son is met with bemused calculation rather than horror.

Even the staunchest fans of the Santangelo family may be disappointed with this rather thin addition to the saga.

Pub Date: Feb. 4, 2014

ISBN: 978-1-250-05093-9

Page Count: 304

Publisher: St. Martin's

Review Posted Online: Jan. 22, 2014

Kirkus Reviews Issue: Feb. 1, 2014

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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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