A dark, buzzing, sometimes-chaotic literary noir written in lively and often elegant prose with an intriguing meditation on...

READ REVIEW

THE COLOR INSIDE A MELON

The latest from Domini (Movieola!, 2016, etc.) is a dark, brisk-paced, and intriguing—if sometimes slightly ungainly—hybrid.

In a Naples rattled by a major earthquake, the authorities are struggling to maintain a semblance of order, and those at the margins of the culture, especially the under-the-radar African refugees known as clandestini, find themselves even more vulnerable and imperiled than before. When one such immigrant is the victim of a grisly murder, Risto—a Somali-born Neapolitan who owns a prominent art gallery and is married to an Italian woman named Paola—decides to investigate, in part to aid the authorities and in part to pressure them into pursuing the case more energetically. Risto, orphaned in his teens and scarred by the trauma of those war-ravaged years in Mogadishu, soon finds himself plunged into an impassable thicket of mysteries and secrets (nothing and no one in this book is quite what it seems) and plagued by memories of his youth, by doubts about those close to him, and by a kind of hallucination, a nimbus of light. But the novel’s primary interest lies less in the surface mystery of the plot, which is nimbly constructed but familiar, than in Domini’s exploration of race, class, and immigration, of what it feels like to be at the dark, desperate fringes of a cosmopolitan European city, a proud old culture that demands assimilation at the same time that it keeps insisting there is a stigma of foreignness that can’t ever be shed.

A dark, buzzing, sometimes-chaotic literary noir written in lively and often elegant prose with an intriguing meditation on immigration and assimilation at its center.

Pub Date: June 11, 2019

ISBN: 978-1-945814-85-3

Page Count: 344

Publisher: Dzanc

Review Posted Online: May 2, 2019

Kirkus Reviews Issue: April 15, 2019

Did you like this book?

No Comments Yet

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Our Verdict

  • Our Verdict
  • GET IT

  • New York Times Bestseller

  • IndieBound Bestseller

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

Did you like this book?

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

Did you like this book?

No Comments Yet
more