A departure and a revelation, though the story is dark and doesn't offer much in the way of redemption (or, for that matter,...

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THE CASUAL VACANCY

Harry Potter’s mommy has a potty mouth.

The wires have been abuzz for months with the news that Rowling was writing a new book—and this one a departure from her Potter franchise, a book for grown-ups. The wait was worth it, and if Rowling’s focus remains on tortured adolescents (as if there were any other kind), they’re teenagers trapped without any magic whatsoever in a world full of Muggles. There’s some clef in this roman, magic or not: The setting is a northerly English town full of council estates and leafy garden suburbs inhabited by people who, almost without exception, are not very happy and really not very likable. While a special election is in the offing, they do the usual things: They smoke and drink and masturbate, and they say and think things along the lines of “Like fuck he does, the cunt,” and when they’re lucky, they have sex, or at least cop a feel, best when a young woman named Krystal is involved. Ah, Krystal, a piece of work both nasty and beguiling: “She knew no fear, like the boys who came to school with tattoos they had inked themselves, with split lips and cigarettes, and stories of clashes with the police, of taking drugs and easy sex.” Sometimes, as with the figure who opens the piece, Rowling’s characters die—and, as with the American Henry James’ oh-so-English novel The Spoils of Poynton, when they do, they set things in motion. Other times, they close things up but never neatly. The reader will be surprised at some of Rowling’s victims and the ways she chooses to dispose of them, but this is less a book about mayhem than about the grimness of most lives. It is skillfully, often even elegantly written, and though its cast of characters is large and its thrills and spills few, Rowling manages to keep the story tied together and moving along nicely. Even so, it’s difficult to find much purchase among some of her characters, particularly the tough, poor ones who live on the edge of town, and it often seems that Rowling doesn’t like them much either. In all, when they’re not sneaking off to Yarvil for relief, the residents of Pagford are Hobbesian through and through: rich hate poor, and poor hate rich; Indians hate Anglos, and Anglos hate Indians; and everyone hates the meddlesome middle-class do-gooders with suggestive names like Fairbrother who try to make things better.

A departure and a revelation, though the story is dark and doesn't offer much in the way of redemption (or, for that matter, much in the way of laughs). Still, this Rowling person may have a career as a writer before her.

Pub Date: Sept. 27, 2012

ISBN: 978-0-316-22853-4

Page Count: 512

Publisher: Little, Brown

Review Posted Online: Oct. 1, 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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A love letter to the power of books and friendship.

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THE GIVER OF STARS

Women become horseback librarians in 1930s Kentucky and face challenges from the landscape, the weather, and the men around them.

Alice thought marrying attractive American Bennett Van Cleve would be her ticket out of her stifling life in England. But when she and Bennett settle in Baileyville, Kentucky, she realizes that her life consists of nothing more than staying in their giant house all day and getting yelled at by his unpleasant father, who owns a coal mine. She’s just about to resign herself to a life of boredom when an opportunity presents itself in the form of a traveling horseback library—an initiative from Eleanor Roosevelt meant to counteract the devastating effects of the Depression by focusing on literacy and learning. Much to the dismay of her husband and father-in-law, Alice signs up and soon learns the ropes from the library’s leader, Margery. Margery doesn’t care what anyone thinks of her, rejects marriage, and would rather be on horseback than in a kitchen. And even though all this makes Margery a town pariah, Alice quickly grows to like her. Along with several other women (including one black woman, Sophia, whose employment causes controversy in a town that doesn’t believe black and white people should be allowed to use the same library), Margery and Alice supply magazines, Bible stories, and copies of books like Little Women to the largely poor residents who live in remote areas. Alice spends long days in terrible weather on horseback, but she finally feels happy in her new life in Kentucky, even as her marriage to Bennett is failing. But her powerful father-in-law doesn’t care for Alice’s job or Margery’s lifestyle, and he’ll stop at nothing to shut their library down. Basing her novel on the true story of the Pack Horse Library Project established by the Works Progress Administration in the 1930s, Moyes (Still Me, 2018, etc.) brings an often forgotten slice of history to life. She writes about Kentucky with lush descriptions of the landscape and tender respect for the townspeople, most of whom are poor, uneducated, and grateful for the chance to learn. Although Alice and Margery both have their own romances, the true power of the story is in the bonds between the women of the library. They may have different backgrounds, but their commitment to helping the people of Baileyville brings them together.

A love letter to the power of books and friendship.

Pub Date: Oct. 8, 2019

ISBN: 978-0-399-56248-8

Page Count: 400

Publisher: Pamela Dorman/Viking

Review Posted Online: July 1, 2019

Kirkus Reviews Issue: Aug. 1, 2019

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