Prizewinning storywriter Meloy (Half in Love, 2002) pushes every melodramatic hot button with disarming understatement.



A multigenerational first novel told with remarkable compression and precision.

Devoutly Catholic Yvette defies her family to marry Teddy shortly before he ships out as a WWII pilot. Although the Santerres’ early happiness in California sours due to Teddy’s inevitable jealousy—though always true to him, Yvette radiates sexuality—they do have two daughters. When adolescent Margot is seduced by a dance teacher, Yvette packs her off to relatives in France, tells Teddy she herself is the pregnant one, then decamps to a convent to cover her lie until the baby is born. Margot, who never acknowledges Jamie as her son, is later unable to bear the children she and her kindly if sketchily drawn husband desperately want. Meanwhile, Margot’s rebellious younger sister Clarissa dotes on Jamie, whom she assumes is her baby brother, but then she runs away with a ’60s-style idealistic, self-centered law student. Yvette’s warning that he’ll make Clarissa unhappy proves true, and when he puts his blossoming political career ahead of family, Clarissa divorces him. By now, Jamie, a troubled youth, has left Yvette and Teddy’s home after a major blow-up. He moves in with Clarissa and helps raise her daughter Abby (who adores her uncle—really her cousin), until she leaves for college. A couple of years later, at a family reunion, Abby and Jamie have sex (while Clarissa begins a lesbian relationship). Abby gets pregnant and soon after is diagnosed with cancer. Although Clarissa and Jamie have both lapsed from their Catholic faith, Abby demands to be baptized. She dies soon after she gives birth, and Jamie, officially only the godfather, raises the child. The secrets the Santerres keep in failed attempts to protect each other gradually unravel even as some of them find private happiness. Finally, Yvette’s murder draws the family together.

Prizewinning storywriter Meloy (Half in Love, 2002) pushes every melodramatic hot button with disarming understatement.

Pub Date: June 17, 2003

ISBN: 0-7432-4435-4

Page Count: 272

Publisher: Scribner

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 15, 2003

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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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