THE LEAST YOU NEED TO KNOW

STORIES

A fine debut of seven stories, winner of the Mary McCarthy Prize in Short Fiction—all, save one, previously published in literary magazines. Together, the pieces make for a hauntingly coherent first collection, often about pitiful family scenarios in which loyalties are tested, lies offered and exposed, and in which ironies abound. A number of Martin's dull and witless men (as seen by their teenage sons/narrators) work in death-related jobs, which often cut their families off from normal lives. In the title story, a son witnesses the mental disintegration of his father, who works cleaning up crime scene fatalities. It's a job that satisfies his increasingly bizarre rage for order, an expression of the same obsessive neatness that drives his wife to distraction. ``Light Opera'' concerns the son of an undertaker who begins to see the appeal of his father's strange life as a constant mourner and affirms it by lying on his father's behalf. A cemetery manager leaves New Hampshire in scandal (``The Welcome Table'') and assumes a new identity with his family in Tennessee, where he forces his son into early civil rights involvement, which the son rejects. Indeed, the sins of the parents often bear upon the children in these tales of justice and revenge. A father's job as a scab worker at the local meat-packing plant destroys his son's happy life in ``The End of Sorry.'' In the long ``The Price Is the Price,'' a Jewish merchant in goyish Evansville, Illinois, tries to win back his assimilated son by developing an inexpensive housing project for black people, but the father's business drive gets the better of him. In two short bits, old people join together out of fear (``Small Facts'') and contemplate ``sin and offense'' (``Secrets''). Bleak midwestern landscapes well serve many of these stark and solid narratives.

Pub Date: June 1, 1996

ISBN: 0-9641151-2-3

Page Count: 192

Publisher: Sarabande

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1996

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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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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

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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