Despite occasional opacity, this slow-building, impressionistic work amply rewards dedicated readers with a moving human...

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THE VANISHING ACT OF ESME LENNOX

When the willfully unattached Iris Lockhart receives a call about a great aunt she never met, her loner lifestyle gets woven into a much larger family drama.

Iris may harbor a secret forbidden passion, but in her real-life affairs she prefers a detached approach. Therefore, when a call comes from the soon-to-close Cauldstone Hospital, asking what she would like to do with an elderly relative she didn’t know existed, she is faced with more intimacy than she’s comfortable with. Her great-aunt Esme, mistakenly called “Euphemia” by the staff, has been hospitalized for more than 60 years for various vague psychiatric disorders, at one point it seems for simply not wanting her hair to be cut. After Iris tries to place her, and recoils from the horrors of the recommended halfway house, she takes her into her own flat, carved out of the Scottish family’s original grand home, on a trial basis. Over the course of one long weekend, that trial reveals truths about why Esme was hospitalized and why Iris never heard of her, and also delves into Iris’s fear of intimacy as her married lover, Luke, teeters on the edge of leaving his wife. Relying on a complex structure that recalls O’Farrell’s earlier work (My Lover’s Lover, 2003, etc.), most of the book’s present action is focused on Iris’s day-to-day functioning. But this contemporary action is merely the finale of a drama that’s been going on since Esme’s youth in India. That story unfolds primarily through a series of inner monologues. Esme enjoys rediscovering some memories but avoids others, while her sister Kitty, now institutionalized with Alzheimer’s, runs through old mistakes and excuses that still haunt her in her dementia. At times, these competing voices, each with a different take on exactly what happened, can be confusing, but by the novel’s surprising ending, each has become clear.

Despite occasional opacity, this slow-building, impressionistic work amply rewards dedicated readers with a moving human drama.

Pub Date: Oct. 1, 2007

ISBN: 978-0-15-101411-8

Page Count: 256

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 2007

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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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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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