An arresting evocation of memory, community, and suffering.

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ANGEL OF OBLIVION

In this searingly lyrical work, a young child bears witness to her family’s past.

“Grandmother signals with her hand, she wants me to follow.” So begins this remarkable book about the experiences of a Slovenian family in the 20th century. The narrator, a young girl at the novel’s beginning, is about to be shown her grandmother’s kitchen. But her grandmother might as well be leading her into memory, for it’s primarily the past to which she’s being introduced. Haderlap, an award-winning poet and writer, has based this novel on her own family’s experiences during the second world war. Her grandmother survived a concentration camp. Her father, still a child, was tortured by German police officers; by age 12, he’d gone off to fight with the partisans. Their neighbors in this small village just barely across the Austrian border fared similarly. It is a community of hardship and suffering. Haderlap’s narrator listens, horrified and rapt, to her father’s and grandmother’s stories. When neighbors discuss their own experiences, she stands “near the door left ajar and listen[s].” As she herself says, “The child understands that it’s the past she must reckon with.” For the past is not static and distant. Instead, “that time reaches out to grab me,” as sinuous and supple as any living thing. By now, decades have passed since the end of the war, but in this family, in this community, every detail, no matter how small, points back to that time, as the arrows in a compass point north. One night, the narrator observes her father smoking outside their house with a few other men. “Stanko is telling them that whenever he sees a cigarette glimmer in the dark, a firefly flutter past, or even someone strike a match, it’s always a shock for him, because it reminds him of the partisans who smoked in the dark.” Haderlap excels when, like here, she allows her characters to speak for themselves, to tell their own stories. But her book falters in more self-indulgent passages when she seems to lose herself in her own thoughts. Her mother is conspicuously absent from most of the book, and her own evolution as a thinker and writer could have used more patient description. Still, Haderlap’s is a significant achievement, hopefully a herald of more to come.

An arresting evocation of memory, community, and suffering.

Pub Date: Aug. 16, 2016

ISBN: 978-0-914671-46-6

Page Count: 291

Publisher: Archipelago

Review Posted Online: June 22, 2016

Kirkus Reviews Issue: July 1, 2016

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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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Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...

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THE NICKEL BOYS

The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.

Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.

Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.

Pub Date: July 16, 2019

ISBN: 978-0-385-53707-0

Page Count: 224

Publisher: Doubleday

Review Posted Online: Jan. 21, 2019

Kirkus Reviews Issue: Feb. 1, 2019

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