A humorous, well-written account of the damaging consequences of an intellectual obsession.

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ANY RESEMBLANCE TO ACTUAL PERSONS

A community college professor and aspiring writer becomes obsessed with disproving his sister’s claim that their father was responsible for the notorious Black Dahlia murder. 

In his debut novel, Allardice introduces failed novelist Paul McWeeney and his journey into a maddening obsession with discrediting the claims made in his sister’s published book. Written in the form of a letter to his sister’s publisher and in a stream-of-consciousness style (which includes nods to Marcel Proust and Hunter S. Thompson), McWeeney threatens legal action to prevent the publication of a book that claims his father killed Elizabeth “Betty” Short (aka the Black Dahlia) during a failed medical procedure. What starts as a seemingly succinct letter quickly becomes a running commentary on McWeeney’s maniacal voyage into the creation of memories; reflections about his lack of teaching abilities, unusual family and intimate relationships; and his slipping grip on reality as he falls deeper into isolation. At the center of the story is how McWeeney and his sister, Edie, offer differing recollections of their deceased parents (a mother who leaves the family for a life in Africa and a father who wrote for a Dragnet-esque television show). The irreconcilable gap between the conflicting narratives becomes a central ingredient for McWeeney’s self-destruction and marginalization. The most enjoyable portions of this book are McWeeney’s constant diatribes, bursting with academic jargon, analysis to the point of absurdity and a strict policy of discounting any notion that strays from his view of a given topic.

A humorous, well-written account of the damaging consequences of an intellectual obsession.                      

Pub Date: Sept. 10, 2013

ISBN: 978-1-61902-197-6

Page Count: 240

Publisher: Counterpoint

Review Posted Online: July 19, 2013

Kirkus Reviews Issue: Aug. 1, 2013

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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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