A cleareyed lens into the strange, human wants of upper-class suburbia.

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THE WONDER GARDEN

The odd interior lives of suburban Connecticut residents are unceremoniously unearthed in the interwoven stories of Acampora’s debut.

On the surface, Old Cranbury is just another New England town: picturesque, soaked in history, full of unspoken class divides, and populated with people who have abandoned New York City for, presumably, greener pastures. But beneath its exterior are wishes, dreams, and choices as grotesque as anything out of Winesburg, Ohio, and Acampora paints the town's web of relationships with lucid, unsettling prose. In “Afterglow,” a wealthy businessman becomes obsessed with touching a human brain in the wake of his wife’s tumor diagnosis. A pregnant newlywed watches helplessly as her husband becomes convinced he’s being poisoned by technology and abandons his livelihood to take up New-Age medicine in “The Umbrella Bird.” An aging gay couple struggles with the yawning gulf between them in “Elevations.” In “Moon Roof,” a real estate agent stops her car at an intersection on her way home and cannot bring herself to continue as the minutes and hours inch by. In “Swarm,” a retired teacher is given the chance to realize his artistic dreams when a couple commissions him for an ambitious installation project: giant insects obscuring every wall of their home. “If it is possible,” he wonders, marveling at his good fortune, “that a boy who sucked licorice on the sidewalks of Flatbush could be a millionaire now…then the world is a spooky and fabulous place indeed." Acampora's world is exactly this: spooky and fabulous. There are expected beats—affairs, teenage mischief, ennui, unhappy marriages—but woven through them are bizarre set pieces, unnerving hungers, and such weirdly specific desires it’s as if the author rifled through a local therapist’s filing cabinet.

A cleareyed lens into the strange, human wants of upper-class suburbia.

Pub Date: May 5, 2015

ISBN: 978-0-8021-2355-8

Page Count: 368

Publisher: Grove

Review Posted Online: Feb. 17, 2015

Kirkus Reviews Issue: March 1, 2015

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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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