Enjoyable satire of corporate life’s stupidities and empty language, as well as those who buy into them.

READ REVIEW

WHO MOVED MY BLACKBERRY™?

THE MARTIN LUKES CHRONICLES

British journalist Kellaway moves into fiction with a novel featuring the marketing executive she created for her Financial Times column.

Martin Lukes fancies himself an out-of-the-box thinker at his global marketing firm and quite the family man at home. He loves his email, which he uses to boss around his staff, to brag about jobs he has no chance of getting, to flirt with his silly new secretary, to scold his wife for not understanding the scope of his commitments, to connect with the two sons he never sees and, most importantly, to communicate with Pandora. She’s his guru at CoachworX!, where Martin has signed up for the Executive Bronze Life Coaching Program (his company’s finance director wouldn’t approve the platinum one). Her coaching will help him be “better than your very best,” Pandora promises. Despite his personal commitment to become more introspective, and his boasts of being a team player, Martin’s emails—which constitute the novel’s entire text—reveal a man woefully inept at human relations. By the time he launches a steamy affair with “Kinky Pinky,” his young secretary, Martin has cluelessly angered most of his family and coworkers with his empty promises. The one area in which he seems to excel is in making up words for marketing purposes, such as “creovation” (a hybrid of creative and innovation). Martin’s self-important emails are delightfully droll, and the tale becomes all the more entertaining when his angry teenaged son gets hold of Martin’s BlackBerry and proceeds to wreak havoc on his neglectful father’s life.

Enjoyable satire of corporate life’s stupidities and empty language, as well as those who buy into them.

Pub Date: May 1, 2006

ISBN: 1-4013-0251-3

Page Count: 368

Publisher: Hyperion

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2006

Did you like this book?

No Comments Yet

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Our Verdict

  • Our Verdict
  • GET IT

  • New York Times Bestseller

  • IndieBound Bestseller

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

Did you like this book?

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

Did you like this book?

more