Well-intentioned, but far too strained to bring out the hankies.

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THE LANGUAGE OF GOOD-BYE

A carefully plotted first novel self-consciously details the long reach of the past as foreign students struggle to forget what they have left behind, and their teacher, already married, falls in love with a married man.

Fisher is good on the details. Richmond, Virginia, and the college setting are vividly evoked, and the minor characters, especially Korean immigrant Sungae, an artist and ESOL student, are fully realized people whose plights move and engage. The starring lovers, Annie and Will, on the other hand, seem intellectual and emotional lightweights despite all the labored efforts to make their story meaningful. It begins as the new school-year opens, and Annie, who teaches English as a second language, is getting prepared. She loves teaching, but the traumas of the last two years—after numerous miscarriages she was told she would be unable to bear children, and she's feeling guilty about leaving Carter, her husband, whom she's known since grade school—have made her less sure of herself. In her first class she asks her students to write "telling lines": a single sentence that would forecast the narrative of their lives. The assignment distresses Sungae, for it brings back all the painful memories of her extramarital love affair and the daughter she left behind in Korea. As Sungae finds herself able to acknowledge her grief and guilt, Annie and Will, now living together, also deal with their respective pasts. Will, who has left his wife and daughter, feels guilty and misses being a full-time dad. And Annie misses Carter, whose anguish leads him to set fires outside her apartment. But in the year that follows, Annie and Will, as well as Sungae, understand that they must let go of the past by learning—all too cutely—the language of good-bye.

Well-intentioned, but far too strained to bring out the hankies.

Pub Date: April 1, 2001

ISBN: 0-525-94570-9

Page Count: 352

Publisher: Dutton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 2001

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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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ANIMAL FARM

A FAIRY STORY

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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