Not a perfect collection—but it comes close.

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NOTES TO THE BELOVED

Bitting (Good Friday Kiss, 2008, etc.) returns with earthy, adventurous and existential free verse.

Bitting is the rare poet who clearly understands that sublimity is never more than one overwrought image away from absurdity. Though clearly capable of the sublime, she is careful to counterbalance the sacred with the profane and the transcendent with the commonplace in crafting what is, on the whole, a forcefully well-proportioned collection. In “Mammary,” for instance, narrator and reader are transported by a chain of associations from the highway sights outside the narrator’s car to visions of her friend’s body as she undergoes a mastectomy. What begins as psychological free association grows increasingly mystical (and worshipful) as the narrator evokes Promethean suffering—"I imagine birds and flight / as the elliptical sweep of sharpness / cuts the pale sky of your chest, / steel beaks of surgical tools / carving out the flesh cream, / making smoke of tumor meat”—before resurrecting her friend’s breasts as “two blond angels, / flying out / beyond the moon’s milky scar” to “spread their innocence." As counterweight to such moments of profound pathos, Bitting demystifies some of life’s most hallowed experiences, such as in “Birth,” a darkly humorous portrayal of childbirth as a telescoping series of indignities in which a Demerol-injected mother on “a Jimi Hendrix acid trip” greets her “baby’s head galumphing / through the ravaged pit” with “a sphincter blast of feces.” Between these extremes, this collection covers a lot of ground—music, death, sex, family, autism, suicide, aging, food—but it always does so from the perspective of a thoroughly embodied narrator. There is a comfortable, even epicurean, egocentrism to Bitting’s narrators that insists on the primacy of the sensual. In this way, and in the way her narrators respond to mortality by burrowing even further into their own skins, Bitting proves herself a sister poet to Anne Sexton, Sharon Olds and Sheryl St. Germain. Yet even with her range, lighter poems like “His Hat,” a comic come-on to Johnny Depp, sometimes feel like filler.

Not a perfect collection—but it comes close.

Pub Date: Jan. 15, 2012

ISBN: 978-0983136231

Page Count: 92

Publisher: Sacramento Poetry Center Press

Review Posted Online: March 29, 2012

Kirkus Reviews Issue: April 15, 2012

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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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More Hallmarkiana, from a shameless expert in the genre.

THE RESCUE

High-stakes weepmeister Sparks (A Walk to Remember, 1999, etc.) opts for a happy ending his fourth time out. His writing has improved—though it's still the equivalent of paint-by-numbers—and he makes use this time of at least a vestige of credible psychology.

That vestige involves the deep dark secret—it has something to do with his father's death when son Taylor was nine—that haunts kind, good 36-year-old local contractor Taylor McAden and makes him withdraw from relationships whenever they start getting serious enough to maybe get permanent. He's done this twice before, and now he does it again with pretty and sweet single mother Denise Holton, age 29, who's moved from Atlanta to Taylor's town of Edenton, North Carolina, in order to devote her time more fully to training her four-year-old son Kyle to overcome the peculiar impediment he has that keeps him from achieving normal language acquisition. Okay? When Denise has a car accident in a bad storm, she's rescued by volunteer fireman Taylor—who also rescues little Kyle after he wanders away from his injured mom in the storm. Love blooms in the weeks that follow—until Taylor suddenly begins putting on the brakes. What is it that holds him back, when there just isn't any question but that he loves Denise and vice versa-not to mention that he's "great" with Kyle, just like a father? It will require a couple of near-death experiences (as fireman Taylor bravely risks his life to save others); emotional steadiness from the intelligent, good, true Denise; and the terrible death of a dear and devoted friend before Taylor will come to the point at last of confiding to Denise the terrible memory of how his father died—and the guilt that's been its legacy to Taylor. The psychological dam broken, love will at last be able to flow.

More Hallmarkiana, from a shameless expert in the genre.

Pub Date: Sept. 19, 2000

ISBN: 0-446-52550-2

Page Count: 352

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 2000

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