By turns lyrical and brutal, Gutierrez stretches an intriguing piece of historical fiction to cover multiple themes.

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THE TRENCH ANGEL

Gutierrez’s debut sets the industrialized murder of World War I as backdrop to the murderous industry of coal mining in the American West circa 1919.

When Neal Stephens finished school, he left New Sligo, Colorado, for Paris to learn the art of photography. While there, he married Lorraine, an African-American woman; it was a passionate, fractious relationship until Lorraine was killed while both were near the front. As we learn in back story chapters, Neal spent time on the front line as a photographer, then went home to work for the Eagle, New Sligo’s newspaper. As with much of everything in town, it belongs to Neal’s uncle, Seamus Rahill, owner of Rahill Coal & Electric. At home, Neal becomes mired in a different war. The workers are organizing, but Rahill has hired Pinkertons. Tensions fracture when Clyde O’Leary, a sheriff more interested in blackmail than law enforcement, is murdered. Rumor is the "notorious anarchist" Jesse Stephens, Neal's father and Rahill’s brother-in-law, is responsible. While some of the characters intrigue—there's a Confederate general’s granddaughter, "a tender girl of 13, lost in a poker game from her father’s poor bluff"—the conflict in this dark, complicated narrative is between archetypes: Rahill is a righteous bully, full of pretensions and maudlin conceptions of the family, while Neal is straight out of Hemingway’s Lost Generation. The catalyst is Jesse, once one of the Rahill overlords, a man with a bizarre secret history. While Gutierrez draws Paris, the Belgian war-front, and the rough-hewn frontier town with a good eye—"the sun hovered over the Rocky peaks, shading the mountain snow like a bruise"—the novel’s unfiltered lens reveals war’s cost to the human psyche, the amorality of concentrated wealth, the cancer of racial and ethnic hatred, and the nearly unresolvable conflict between familial loyalty and moral responsibility.

By turns lyrical and brutal, Gutierrez stretches an intriguing piece of historical fiction to cover multiple themes.

Pub Date: Oct. 13, 2015

ISBN: 978-1-935248-71-2

Page Count: 250

Publisher: Leapfrog

Review Posted Online: July 15, 2015

Kirkus Reviews Issue: Aug. 1, 2015

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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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Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

CILKA'S JOURNEY

In this follow-up to the widely read The Tattooist of Auschwitz (2018), a young concentration camp survivor is sentenced to 15 years’ hard labor in a Russian gulag.

The novel begins with the liberation of Auschwitz by Soviet troops in 1945. In the camp, 16-year-old Cecilia "Cilka" Klein—one of the Jewish prisoners introduced in Tattooist—was forced to become the mistress of two Nazi commandants. The Russians accuse her of collaborating—they also think she might be a spy—and send her to the Vorkuta Gulag in Siberia. There, another nightmarish scenario unfolds: Cilka, now 18, and the other women in her hut are routinely raped at night by criminal-class prisoners with special “privileges”; by day, the near-starving women haul coal from the local mines in frigid weather. The narrative is intercut with Cilka’s grim memories of Auschwitz as well as her happier recollections of life with her parents and sister before the war. At Vorkuta, her lot improves when she starts work as a nurse trainee at the camp hospital under the supervision of a sympathetic woman doctor who tries to protect her. Cilka also begins to feel the stirrings of romantic love for Alexandr, a fellow prisoner. Though believing she is cursed, Cilka shows great courage and fortitude throughout: Indeed, her ability to endure trauma—as well her heroism in ministering to the sick and wounded—almost defies credulity. The novel is ostensibly based on a true story, but a central element in the book—Cilka’s sexual relationship with the SS officers—has been challenged by the Auschwitz Memorial Research Center and by the real Cilka’s stepson, who says it is false. As in Tattooist, the writing itself is workmanlike at best and often overwrought.

Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

Pub Date: Oct. 1, 2019

ISBN: 978-1-250-26570-8

Page Count: 352

Publisher: St. Martin's

Review Posted Online: Oct. 28, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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