It takes chutzpah for a nonblack to write something like this, but some risks are worth the effort for what they reveal of...

AFRICA SPEAKS

An oddity, this story of New York street-smart black life by columnist and Bible studies instructor Goldblatt (Fashion Institute of Technology, SUNY) is actually both hip and moving.

Africa Ali, known to his high-school teacher dad as Kevin, is a bright guy and small-time dealer, 23, full of himself, black pride, and the “dawgs” in the 149th Street Crew he calls his family. He’s got no fear about being interviewed by some whitey who wants to “keep it real,” so into the tape recorder Africa talks, nonstop, about his main man Herc, who keeps his attitude alive and enhances his police record, about his dad, whom he doesn’t talk to anymore, about Tanya, the mother of his child, who kicked him out of her life in the birthing room when he couldn’t say he loved her, about Keisha, who loves him enough to fight for him but from whom he keeps distant, lest she engage his feelings. Africa talks about black superiority, about his own racist and sexist views, about his time in court, about his time in bed with Keisha. He raps, rants, struts, falters—and steadfastly refuses to discuss his older brother Dexter. As the series of interviews proceeds, Africa occasionally delegates others from his crew to speak for him: Keisha tells about how Africa saved her from having zero self-esteem after she tried to help a girlfriend whose child was murdered by its father; intellectual Jerome delivers the Black Power message but also spills the beans about what happened to Dexter; Fast Eddy reports on Africa’s recovery from a self-inflicted gunshot wound. And Africa himself struggles to describe his relationship with a Chinese girl. For all his protests, it might just be love.

It takes chutzpah for a nonblack to write something like this, but some risks are worth the effort for what they reveal of essential humanity. This is one.

Pub Date: Feb. 1, 2001

ISBN: 1-57962-037-X

Page Count: 176

Publisher: Permanent Press

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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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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