A tale of morals, intriguingly told.

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THE SKULL AND THE NIGHTINGALE

A Faustian bargain drives the narrative in Irwin’s novel, but the devil’s identity is ambiguous.

In this 18th-century treatise of manners and manipulation—think Fielding’s bawds and beds—Richard Fenwick has returned from a grand tour of Europe sponsored by his godfather, James Gilbert, wealthy owner of Fork Hill estate. Gilbert assumed care of Richard upon his parents’ deaths. He’d envied the elder Fenwick’s bonhomie, his willingness to embrace life. Gilbert’s own nature was circumscribed and full of unexpected consequences. Now he proposes an intellectual experiment. Gilbert wants to "taste, vicariously, the pleasure of a young rake," and so he offers Fenwick an allowance so that he might pursue all that he, Gilbert, had so feared: "the Passions: Vanity, Greed, Avarice, Rage, Lust...." Thus begins the moral exploration, steps sometimes chronicled via letters between London and Fork Hill, with Fenwick and Gilbert slowly stripping away pretension and pretext. Fenwick is by turns ambitious, hedonistic, lazy, blind to evil and brutal in manner despite perceiving himself of "amiable disposition—certainly neither callous nor cruel." Obviously, Gilbert is Machiavellian, manipulative not only of Fenwick, but also of those to whom he offers patronage, including a failed poet, a lackadaisical scientist and another landowner, a boor whose wife he inveigles Fenwick to seduce. Amid Irwin’s spot-on descriptions of 18th-century England’s squalor and splendor, the masquerades and dinner parties, this passion play mostly rests between the sheets where Lust lies. Fenwick reports to Gilbert as he beds a promising actress while simultaneously setting sights on Sarah, a childhood companion neglected during his sojourn. Sarah’s now married to a stolid diamond merchant whom Fenwick’s eager to cuckold. Irwin’s secondary characters also fascinate: Horn, more gentlemanly than his loutish tavern-hopping would have him appear; Crocker, grossly obese, rejecting fleshly pleasures for beauty and companionship; and Mrs. Jennings, Gilbert’s contemporary, playfully cynical and sardonic. At the end, "the ceaseless reciprocal traffic between the intellectual and animal self" ends in accidental death and a surprising choice.

A tale of morals, intriguingly told.

Pub Date: Aug. 1, 2013

ISBN: 978-0-06-220235-2

Page Count: 416

Publisher: Morrow/HarperCollins

Review Posted Online: May 19, 2013

Kirkus Reviews Issue: June 1, 2013

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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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