CAIN

Why would a dedicated communist and atheist turn to the Bible as the theme for his final novel? Because the Bible is literature, and literature in a way that the best writers have long recognized—and the late Saramago (Small Memories, 2011, etc.) is one of the best.

Indeed: The best modern (if not modernist) writers—Mann, Kafka, Bellow, the list goes on—have always made fruitful use of the Bible, and particularly in subversive readings of it that match the collapse of faith in Western civilization’s post-Nietzschean twilight. In the Portuguese Nobel Prize winner (and communist and atheist) Saramago’s case, the story opens as it does in the Bible: with Genesis, that is, in which God is an impatient, violent and impulsive chap who isn’t quite sure why the humans he created have turned out so bad, but is swift to punish them savagely for living up to their natures. (Talk about setting someone up for failure.) Adam and Eve are tossed from the Garden of Eden, finding their way to a cave, and there they beget Cain and Abel. Writes Saramago, lowercasing his nouns, “Let us begin by clearing up certain malicious doubts about adam’s ability to make a child when he was one hundred and thirty years old.” Adam pulled it off, though, his offspring introducing murder to the list of human sins. Our eponymous Cain wanders into exile, accompanied by a semi-magical donkey (the Roman writer Apuleius seems to have stolen into the biblical mix) and has adventures aplenty. He’s a ticked-off fellow too: Saramago tells us that he was a fratricide precisely because he was not a successful deicide, and he might have enjoyed a fine career conquering such ancient cities as Sodom and Nineveh had not God always been interfering. Cain is also self-aware, if constantly unable to read the deity’s intentions; he offers himself up to God for the sacrifice God seems to be demanding, only to be made to live out his punishment for hundreds of years. Says a frustrated Cain, “I have learned one thing…That our god, the creator of heaven and earth, is completely mad."   A pleasing, elegantly written allegory.  

 

Pub Date: Oct. 4, 2011

ISBN: 978-0-547-41989-3

Page Count: 196

Publisher: Houghton Mifflin Harcourt

Review Posted Online: Nov. 1, 2011

Kirkus Reviews Issue: Nov. 15, 2011

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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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Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

CILKA'S JOURNEY

In this follow-up to the widely read The Tattooist of Auschwitz (2018), a young concentration camp survivor is sentenced to 15 years’ hard labor in a Russian gulag.

The novel begins with the liberation of Auschwitz by Soviet troops in 1945. In the camp, 16-year-old Cecilia "Cilka" Klein—one of the Jewish prisoners introduced in Tattooist—was forced to become the mistress of two Nazi commandants. The Russians accuse her of collaborating—they also think she might be a spy—and send her to the Vorkuta Gulag in Siberia. There, another nightmarish scenario unfolds: Cilka, now 18, and the other women in her hut are routinely raped at night by criminal-class prisoners with special “privileges”; by day, the near-starving women haul coal from the local mines in frigid weather. The narrative is intercut with Cilka’s grim memories of Auschwitz as well as her happier recollections of life with her parents and sister before the war. At Vorkuta, her lot improves when she starts work as a nurse trainee at the camp hospital under the supervision of a sympathetic woman doctor who tries to protect her. Cilka also begins to feel the stirrings of romantic love for Alexandr, a fellow prisoner. Though believing she is cursed, Cilka shows great courage and fortitude throughout: Indeed, her ability to endure trauma—as well her heroism in ministering to the sick and wounded—almost defies credulity. The novel is ostensibly based on a true story, but a central element in the book—Cilka’s sexual relationship with the SS officers—has been challenged by the Auschwitz Memorial Research Center and by the real Cilka’s stepson, who says it is false. As in Tattooist, the writing itself is workmanlike at best and often overwrought.

Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

Pub Date: Oct. 1, 2019

ISBN: 978-1-250-26570-8

Page Count: 352

Publisher: St. Martin's

Review Posted Online: Oct. 28, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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