A dizzying plot served up with tankards of disarming deadpan humor, a smattering of actual pirate history and characters...



Pirates sail again in Thomson’s rollicking debut, a tall, fanciful tale that throws us headlong into a world of peg-legged sea dogs and hidden treasure, just minutes from your nearest Sandals resort.

That’s where buttoned-down, 36-year-old accountant Morgan Baker finds himself when long-lost dad Isaac, recently sprung from prison, steals the Vail & Company yacht, intent on retrieving the $40-million worth of gold ingots he stashed on a remote Caribbean island 28 years earlier. Morgan soon learns that he and his delinquent dad are direct descendants of the notorious Cookes, legendary pirates of yore. Unfortunately, Morgan also discovers that his employers, smarmy and suave CEO Avery Vail and his foulmouthed dowager mother Isabel, are direct descendants of their archrivals, the Hoods, who still hold to the pirate credo, “Dead men tell no tales.” Morgan quickly discards Plan A (reforming wayward dad) in favor of Plan B (joining him). The chase for the buried treasure is on, set against a backdrop of remote Caribbean islands seemingly untouched by time—or soap—and populated by the crew of the Jolly Roger. Screenwriter and Web site cartoon animator Thomson doesn’t waste much effort on gritty details or character nuance. Instead, he sends readers into a maelstrom alongside Morgan and Isaac from one pitched battle to the next. The pirates fight in bars, brawl in brothels, escape (improbably) from Old World dungeons and booby-trapped caves, and set off sufficient fireworks to fuel several Jerry Bruckheimer movies. Granted, believability walks the plank in the process. But who’s expecting realism in a story that features an alcoholic parrot, a curvy, tattooed manicurist equally handy with nail file and pirate’s cutlass, and a boatload of eye-patched, grog-swilling characters with names like Squid, Hatch and Fife?

A dizzying plot served up with tankards of disarming deadpan humor, a smattering of actual pirate history and characters just engaging enough to have us swallow it all.

Pub Date: April 1, 2005

ISBN: 0-312-33499-0

Page Count: 320

Publisher: Dunne/St. Martin's

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 2005

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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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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.


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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