If only the fireworks which Scottoline (Devil’s Corner, 2005, etc.) uses to extricate her feisty heroine from her problems...

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DIRTY BLONDE

Judges who live in glass houses shouldn’t mouth off, as the latest of Scottoline’s Philadelphia legal eagles learns when her public and private lives collide with a bang.

The Honorable Cate Fante is the golden girl of the Eastern District bench, appointed at 39 to one of the most prestigious positions in the American bar. But not even her sharp mind can figure out a way to keep powerful TV producer Art Simone from evading Philadelphia lawyer Richard Marz’s clearly meritorious claim that his one-time buddy stole the idea and the leading characters for the wildly successful series Attorneys at Law from Marz. Cate reluctantly decides the case in favor of Simone. But the stern lecture she delivers to the defendant from the bench, which inspires Marz to hurl abuse at him in open court, is a distinct faux pas, as Chief Judge Sherman informs her privately. Actually, it’s a hundred times worse. Within two days Simone and Marz are both dead, the first a murder, the second an apparent suicide. As if the resulting notoriety weren’t punishment enough, Marz’s friend and partner, Detective Frank Russo, threatens to go public with details of Cate’s compulsive sexual interludes with lowlife pickups, the latest of whom is also dead. Even worse, Simone’s death evidently won’t prevent his production company from launching Judges at Court, a new series based on Cate’s life, featuring thinly fictionalized versions of not only the besmirched judge but her publicity-shy best friend Gina Katsakis and her autistic son Warren. Can she sue the company to prevent her private life from turning into prime-time drama? Probably not—but if she doesn’t, her days as a judge will be numbered.

If only the fireworks which Scottoline (Devil’s Corner, 2005, etc.) uses to extricate her feisty heroine from her problems were as compelling or believable as the sure-footed mastery with which she plunges her into hot water.

Pub Date: March 14, 2006

ISBN: 0-06-074290-9

Page Count: 368

Publisher: HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 2006

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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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