A smartly turned and admirably consistent collection about love and its many discontents.



Dysfunctional relationships of many stripes—crumbling marriages, bad dates, slacker partners—drive this dark and quirky clutch of stories.

Moshfegh’s most remarkable talent early in her career is to turn distasteful domestic situations into magnetic storytelling: her superb debut novel, Eileen (2015), is a Highsmith-ian tale of alcoholism, abuse, and unrequited love, and though the 14 stories in this collection don’t let much more sunlight in, their concision and gallows humor do give them a lift. In “The Beach Boy,” a longtime married couple returns from a vacation, and when the wife suddenly dies, her undeveloped vacation photos force the husband to reassess his understanding of her (did she really hook up with a prostitute?) and himself. In “A Dark and Winding Road,” a well-off man runs into his reprobate brother’s meth-smoking girlfriend, a meeting that proves (in quintessentially Moshfegh-ian phrasing) “disgusting—just as I’d always hoped it to be.” Youngsters are no more or less foolish, like the aspiring actor in “Nothing Ever Happens Here” who falls for his aging landlord, the broke Brooklyn hipster in “Dancing in the Moonlight” who schemes to seduce a high-end furniture designer, or the narrator of “The Weirdos” who can’t quite extract herself from her boorish boyfriend. For all these foibles, though, Moshfegh never approaches her characters from a position of cruelty, with an intention to mock them; they are for the most part ordinary people undone by their desires, just in more peculiar and Day-Glo fashion than everyday life. Moshfegh's prose is usually plainly realist, but “Mr. Wu,” about a man who devises a complex scheme to seduce a woman running a Chinese internet cafe, is a piercing fable of unrequited love. “Life can be strange sometimes, and knowing it can be doesn’t seem to make it any less so,” one character says, and Moshfegh has proven herself more willing than her contemporaries to dive into the muck of that strangeness.

A smartly turned and admirably consistent collection about love and its many discontents.

Pub Date: Jan. 17, 2017

ISBN: 978-0-399-56288-4

Page Count: 304

Publisher: Penguin Press

Review Posted Online: Oct. 5, 2016

Kirkus Reviews Issue: Oct. 15, 2016

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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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