Comparisons with Gabriel García Márquez are inevitable and likely warranted. But this novel’s generous spirit, sensory...

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THE OLD DRIFT

The past, present, and future of an African nation is filtered with humane wit, vibrant rhetoric, and relentless ingenuity through the interweaving sagas of three very different families.

The year is 1904, and an itinerant would-be photographer named Percy Clark has wandered from his native England to a colonial outpost along the Zambezi River in what was then known as the Northwestern Rhodesia territory. One momentous day, Clark, addled by fever, is stumbling around the lobby of the Victoria Falls Hotel and somehow manages to inadvertently pull a hank of hair from the pate of the hotel’s Italian manager, whose 5-year-old daughter angrily responds by striking an "innocent native" passer-by so hard that “he became an imbecile.” From the moment that inexplicable calamity occurs, the descendants of these individuals find their respective fates entwined through what’s left of the 20th century and beyond as the land around them morphs into the nation of Zambia. Sometime in the 1960s, for instance, Percy’s wealthy granddaughter, Agnes, deprived by blindness of a promising tennis career, falls in love with a brilliant black exchange student whom she accompanies back to the soon-to-be-independent Zambia he calls home. During those same years, Matha, the precocious granddaughter of the poor assault victim, is among several math-and-science prodigies recruited by the country’s Minister of Space Research to train for a mission to the moon by decade’s end. Strangest of all these progenies is Sibilla, the granddaughter of the hotel manager, who is born with streams and streams of hair that never stops growing—and apparently makes things grow out of the ground, too. The children and the children’s children of these women find themselves inexorably, absurdly, and at times tragically drawn together through the history of both Zambia and the patch of land where their ancestors first collided. Blending intimate and at times implausible events with real-life history, this first novel by Serpell—a Zambian writer who teaches at the University of California, Berkeley, and who's won the Caine Prize for African Writing for her short story "The Sack"—enchants its readers with prose as luxuriant and flowing as Sibilla’s hair.

Comparisons with Gabriel García Márquez are inevitable and likely warranted. But this novel’s generous spirit, sensory richness, and visionary heft make it almost unique among magical realist epics.

Pub Date: March 26, 2019

ISBN: 978-1-101-90714-6

Page Count: 592

Publisher: Hogarth/Crown

Review Posted Online: Dec. 23, 2018

Kirkus Reviews Issue: Jan. 15, 2019

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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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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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