Like sophisticated literary mood music, this book lingers in the memory, ringing true in theme and metaphor even when...

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NOCTURNES

FIVE STORIES OF MUSIC AND NIGHTFALL

A collection of five stylish stories from Ishiguro (Never Let Me Go, 2005, etc.).

As indicated by both the title and subtitle, all the stories in this fictional equivalent of a concept album concern musicians and the evening. But even more holds them together. All are first-person narratives (four of them by musicians) and most have a recurring motif of exchanging early promise for something—a marriage, a career, maybe both—that one settles for, once the daylight of youth has given way to the twilight of middle age. When one underachiever remarks “I’m only forty-seven,” the woman on whom he had a college crush, now married to his best friend, replies, “Only forty-seven. This ‘only,’ this is what’s destroying your life. Only, only, only. Only doing my best.” That story, “Come Rain or Come Shine,” is the most audacious in terms of tone, a very funny narrative, almost emotionally slapstick, about a very sad marriage. The writing is so exquisite throughout that the reader forgives the fact that at least two of these stories don’t make much literal sense. In “Malvern Hills,” an otherwise subtle story about a young guitarist who believes he has a career in music, and two married couples who have become resigned to their fates, the narrator keeps auditioning for electric bands with an acoustic guitar. The title story, the longest and strangest, concerns a session saxophonist who has somehow been persuaded to have plastic surgery on his face as a big career move. (Who really cares what a session or jazz musician looks like?) But even though there are a few false notes, the tonal command sustains perfect pitch.

Like sophisticated literary mood music, this book lingers in the memory, ringing true in theme and metaphor even when lacking plausibility.

Pub Date: Sept. 28, 2009

ISBN: 978-0-307-27102-0

Page Count: 240

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 2009

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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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