Former standup comic Landvik debuts with a homespun beauty- parlor melodrama, Minneapolis-set. Patty Jane is 21 when she marries Thor, an impossibly handsome architect-in-training. Impregnated on their wedding night, she feels her husband growing painfully distant as her girth increases. After a fight, Thor disappears for good. Disconsolate Patty Jane is tended by her sister Harriet, who's madly in love with Avel, pint- sized heir to a cereal fortune. Then Avel is killed in a plane crash. Cut forward a decade. Patty Jane is now the proprietor of the House of Curl, a needlepoint-appointed beauty parlor where a gang of salt-of-the-earth locals with names like Inky and Crabby gathers for restorative good-ol'-gal group therapy. Harriet plays her harp; Thor's mother bakes; handsome Clyde Chuka does manicures. Patty Jane even introduces a House of Curl lecture series, in which the girls hold forth on their obsessions: Decorating with Fabrics, Legends of Hollywood. But then Harriet starts to drink. She walks out on home and harp, and soon is panhandling, turning tricks, and vomiting in dumpsters. Meanwhile, Patty Jane, missing her sister, falls into Clyde Chuka's arms. Later, a recovering alcoholic cop named Reese befriends down-and-out Harriet and lures her to A.A.; she slowly works at being sober, then rejoins her family, Reese in tow. One day, though, Harriet spots a familiar-looking zombie: Thor, brain-damaged on the night of his long-ago fight with Patty Jane, has been kept prisoner by a crazy former oral surgeon. He's rescued and welcomed back into the House of Curl circle. But then Harriet is diagnosed with lung cancer, and the gang gathers for a teary deathbed scene beforeguess what?bounding spunkily back. Though the elaborately crafted wackiness and cloying coziness of the beauty-parlor scene will annoy some, readers hungry for an easy-to-swallow tale of female—not feminist—solidarity may find this a satisfying, sugary treat.

Pub Date: Sept. 1, 1995

ISBN: 1-882593-12-X

Page Count: 256

Publisher: Bridge Works

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 1, 1995

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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 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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