Still, its vivid characters and page-turning plot make it a more than commendable first novel.



Cultural exchange breeds more misunderstanding than enlightenment in this ambitious debut novel from the author of the collection Lucky Girls (2003).

When its title character Yuan Zhao arrives from China in Beverly Hills, the differing reactions of his host family ironically underscore his uncertain status as an artist subjected to political persecution (for his involvement with a subversive arts magazine and proscribed performance art). Fortyish matron “Cece” (Cecelia) warmly welcomes an opportunity to lavish on a deserving guest affection declined by husband Gordon (a psychology professor and bestselling author), with whom she languishes in a sexless marriage. Their teenagers Olivia (an ardent student of dance) and Max (a possibly suicidal underachieving malcontent) scarcely register any life beyond their own introverted orbits. Gordon’s brother Phil, a globetrotting egotist and unworthy lover of superior women (including the guilty Cece) masquerades as a hotshot scriptwriter while doing what he does best: ruin other people’s lives. The character seemingly best suited to understand and communicate with “the dissident,” Gordon’s sister Joan, is a successful novelist for whom human relationships are more a source of material than a sphere she’ll consent to inhabit. The complex interrelations of these variously beautiful, privileged people form a fascinating counterpoint to the moving story of Yuan Zhao’s embattled apprenticeship and largely wasted life (for, despite the respect of people who believe his existence more meaningful than their own, he struggles with the nagging knowledge that “There was a time . . . when I might have made sacrifices for art, and chose not to.” The book is significantly flawed, by awkwardly handled exposition and several uncomfortably close echoes of Jonathan Franzen’s The Corrections.

Still, its vivid characters and page-turning plot make it a more than commendable first novel.

Pub Date: Sept. 1, 2006

ISBN: 0-06-075871-6

Page Count: 448

Publisher: Ecco/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 1, 2006

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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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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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A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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