A companionable but often dull account of romantic travails.

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THE NUMBERS MAN

A romantic comedy that details the internet dating exploits of a newly single writer.

Pat Muir, a semiretired, trained geophysicist who manages an apartment complex, gets divorced after 30 years of marriage and suddenly finds himself responsible for preparing his own meals. He’s inspired to self-publish a book about his experiences, The Single Man’s Guide to a Quick Meal, and he promotes it on various radio talk shows. In the meantime, he scours the internet for companionship, finding more than 50 candidates for a potential long-term relationship. He assigns each date a sequential numeral: “I more easily recall women I have met by their number,” he narrates. “My scientific training has led me to remember numbers—all kinds of physical constants and conversion factors.” Pat begins a relationship with retiree Beth—number 57—but when she leaves town, he becomes entangled with Donna, a successful, attractive lawyer. He struggles with guilt over dating both women at the same time, and he worries that Donna is accustomed to a lifestyle that he could never afford. He’s invited to be a guest on a television cooking show hosted by Joyce Minsky, a woman embittered by the end of her own marriage, and the two are immediately at loggerheads. Their acrimony makes for good television, though, and as they get better acquainted, Pat begins to see her in a new, less pugilistic light. Author Muir (Stories to Entertain You…If You Get Bored on Your Wedding Night, 1999) realistically depicts the dating scene for the older set, which is, of course, no less fraught with challenges than it is for younger folk. He employs a lighthearted prose style that’s always unpretentious and occasionally funny. However, the bulk of the story is dominated by descriptions of the quotidian—Pat’s small talk during his dates, for instance, or detailed accounts of his radio interviews and the unspectacular romantic foibles of his employee, Bill. As a result, it often feels as if the novel is simply laying out a series of loosely connected happenings, rather than a cohesive plot, and it ends abruptly with a sense of exhausted disinterest.

A companionable but often dull account of romantic travails.

Pub Date: Sept. 1, 2010

ISBN: N/A

Page Count: 262

Publisher: PMBOOK

Review Posted Online: Feb. 22, 2018

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

DEVOLUTION

Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).

A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Pub Date: June 16, 2020

ISBN: 978-1-9848-2678-7

Page Count: 304

Publisher: Del Rey/Ballantine

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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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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