As one of the characters puts it, “Art is a humanizer,” and Farah’s insistence on isolating the humanity in even the most...

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NORTH OF DAWN

A Somali husband and wife living in Norway are pitched into chaos, acrimony, and upheaval after their son embraces radical Islam and dies as a suicide bomber.

As in Farah’s last novel, Hiding in Plain Sight (2014), an act of violence sets in motion a chain of events disrupting a family’s stable life. It is the spring of 2009, and Mugdi, a former Somali diplomat now living in Oslo with his wife, Gacalo, has found out that their estranged son, Dhaqaneh, who fled to their homeland as a jihadi, has blown himself up at the international airport there. Gacalo, upon recovering from her grief, reminds her husband of the promise he made: that they would welcome into their home their widowed daughter-in-law, Waliya, and her two young children from a previous marriage. Mugdi, more than his wife, is bracing for what could be an unsettling culture clash, and his apprehensions grow when he finds Waliya to be sullen, withdrawn, and monastic in adhering to her Islamic faith, demanding that her son, Naciim, and daughter, Saafi, rigidly follow her religious tenets. But both children are attracted by the freedoms their new homeland offers, especially Naciim, who almost from his arrival in Norway yearns to earn enough money to buy a lottery ticket. He also chafes at the many strict rules imposed by his mother, including her fierce opposition to his associating with non-Muslim school friends and their families. The anti-immigrant bigotry of Norwegian citizens looms over this family’s painful transition, exploding at one point with Anders Behring Breivik's 2011 mass slaughter of more than 70 people, including teens attending a multicultural youth camp. At the opposite end of the spectrum is the anti-Western intolerance of Waliya and some of her fellow refugees, which reaches a tipping point with Naciim after he is brutally whipped by an imam as “punishment” for “disrespect.” Between these two violent extremes, Mugdi’s besieged-but-steadfast equanimity, as well as the author’s, provides relatively safe haven from the prevailing tension and strife.

As one of the characters puts it, “Art is a humanizer,” and Farah’s insistence on isolating the humanity in even the most difficult characters is a beacon of hope against fear and loathing.

Pub Date: Dec. 4, 2018

ISBN: 978-0-7352-1423-1

Page Count: 384

Publisher: Riverhead

Review Posted Online: Oct. 15, 2018

Kirkus Reviews Issue: Nov. 1, 2018

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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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