A deliberately over-the-top but sensitive take on multiple touchy subjects.
A celebrated professor who passes for Indian is revealed to be White. Is she a fraud or a trailblazer?
This provocative fiction debut and satire of identity politics by Sanyal, a German academic, centers on Saraswati, a Düsseldorf professor who’s infamous for her outspoken proclamations about race and social justice: She’s shut down Jordan Peterson in debate and kicked White students out of her courses. She’s a hero to Nivedita, a graduate student who’s been inspired by Saraswati to explore her own mixed-race background and launch a blog under the name Identitti. So she’s crushed when it’s revealed that Saraswati isn’t South Asian but a White woman named Sarah. Commentators quickly break out the hashtags (#SaraswatiShame) and liken her to Rachel Dolezal, the White college instructor who presented herself as Black. But Saraswati doesn’t retreat. She insists that race, much like gender, can be fluid and that her leaning into racial issues represents a noble rejection of Whiteness. “So it’s okay to transcend your gender, but a category as obviously made-up as race should be more fixed and inflexible than sex?” she asks Nivedita, and the narrative is thick with such questions. Sanyal mocks Saraswati’s privilege and sanctimony but takes her perspective seriously; the book refers often to writers on race, gender, and postcolonialism, from Frantz Fanon to bell hooks to Zadie Smith. Though the novel is effectively a long series of conversations in an apartment among Saraswati, Nivedita, and other interlocutors, it has a surprising liveliness thanks to Sanyal’s knack for sending up academia and social media pile-ons and her canny interweaving of Hindu mythology. (The goddess Kali provides an extended metaphor.) “What it means to be white must be allowed to change and expand,” Saraswati insists, and the novel is an eyebrow-raising prompt to debate the matter.
A deliberately over-the-top but sensitive take on multiple touchy subjects.Pub Date: July 26, 2022
ISBN: 978-1-662-60129-3
Page Count: 336
Publisher: Astra House
Review Posted Online: May 10, 2022
Kirkus Reviews Issue: June 1, 2022
An affecting portrait of a prickly woman.
A lifetime’s worth of letters combine to portray a singular character.
Sybil Van Antwerp, a cantankerous but exceedingly well-mannered septuagenarian, is the titular correspondent in Evans’ debut novel. Sybil has retired from a beloved job as chief clerk to a judge with whom she had previously been in private legal practice. She is the divorced mother of two living adult children and one who died when he was 8. She is a reader of novels, a gardener, and a keen observer of human nature. But the most distinguishing thing about Sybil is her lifelong practice of letter writing. As advancing vision problems threaten Sybil’s carefully constructed way of life—in which letters take the place of personal contact and engagement—she must reckon with unaddressed issues from her past that threaten the house of cards (letters, really) she has built around herself. Sybil’s relationships are gradually revealed in the series of letters sent to and received from, among others, her brother, sister-in-law, children, former work associates, and, intriguingly, literary icons including Joan Didion and Larry McMurtry. Perhaps most affecting is the series of missives Sybil writes but never mails to a shadowy figure from her past. Thoughtful musings on the value and immortal quality of letters and the written word populate one of Sybil’s notes to a young correspondent while other messages are laugh-out-loud funny, tinged with her characteristic blunt tartness. Evans has created a brusque and quirky yet endearing main character with no shortage of opinions and advice for others but who fails to excavate the knotty difficulties of her own life. As Sybil grows into a delayed self-awareness, her letters serve as a chronicle of fitful growth.
An affecting portrait of a prickly woman.Pub Date: May 6, 2025
ISBN: 9780593798430
Page Count: 304
Publisher: Crown
Review Posted Online: Feb. 15, 2025
Kirkus Reviews Issue: March 15, 2025
SEEN & HEARD
A pleasant if not entirely convincing tribute to the power of art.
A French art historian’s English-language fiction debut combines the story of a loving relationship between a grandfather and granddaughter with an enlightening discussion of art.
One day, when 10-year-old Mona removes the necklace given to her by her now-dead grandmother, she experiences a frightening, hour-long bout of blindness. Her parents take her to the doctor, who gives her a variety of tests and also advises that she see a psychiatrist. Her grandfather Henry tells her parents that he will take care of that assignment, but instead, he takes Mona on weekly visits to either the Louvre, the Musée d’Orsay, or the Centre Pompidou, where each week they study a single work of art, gazing at it deeply and then discussing its impact and history and the biography of its maker. For the reader’s benefit, Schlesser also describes each of the works in scrupulous detail. As the year goes on, Mona faces the usual challenges of elementary school life and the experiences of being an only child, and slowly begins to understand the causes of her temporary blindness. Primarily an amble through a few dozen of Schlesser’s favorite works of art—some well known and others less so, from Botticelli and da Vinci through Basquiat and Bourgeois—the novel would probably benefit from being read at a leisurely pace. While the dialogue between Henry and the preternaturally patient and precocious Mona sometimes strains credulity, readers who don’t have easy access to the museums of Paris may enjoy this vicarious trip in the company of a guide who focuses equally on that which can be seen and the context that can’t be. Come for the novel, stay for the introductory art history course.
A pleasant if not entirely convincing tribute to the power of art.Pub Date: Aug. 26, 2025
ISBN: 9798889661115
Page Count: 432
Publisher: Europa Editions
Review Posted Online: June 7, 2025
Kirkus Reviews Issue: July 15, 2025
SEEN & HEARD
SEEN & HEARD
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