Carey’s mastery of tone and command of point of view are very much in evidence in his latest novel (My Life as a Fake, 2004,...

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HIS ILLEGAL SELF

This isn’t the first fictional work to explore the militant radical underground of the late 1960s and early ’70s, but it may well be the best.

What freshens the familiar material is the child’s-eye perspective with which Carey begins the story. Impressions and chronology take time to coalesce, as seven-year-old Che (called “Jay” by the patrician grandmother who has raised him) has little idea what is happening to him or why. Take the title as irony, because Che is the embodiment of innocence, with his only possible guilt by association. Most of what Che knows about his parents he has learned from his babysitter, who has promised him that he will be liberated: “They will break you out, man. Your life will start for real.” Both his mother and his father, neither of whom he knows, are notorious underground militants, and Che himself has some sort of fame from a photo taken of him as a baby with his mother at a demonstration. One afternoon, the babysitter’s prophecy appears to come true, as a woman whom Che believes to be his mother visits and flees with him. Whatever the relation between the two, a bond develops between Che and the captor/rescuer he has been told to call “Dial.” As the novel’s perspective shifts between the two characters, it appears that Dial has little more idea than Che what is going on. She has risked her career as a fledgling professor at Vassar to take the boy, and whatever relation she has with him, she has a history with the boy’s father. The action quickly shifts from New York—where Che’s grandmother lives, as does the novelist—to Australia, where Carey was born and raised and where revelation awaits for both the characters and the reader.

Carey’s mastery of tone and command of point of view are very much in evidence in his latest novel (My Life as a Fake, 2004, etc.), which is less concerned with period-piece politics than with the essence of identity.

Pub Date: Feb. 8, 2008

ISBN: 978-0-307-26372-8

Page Count: 288

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 1, 2007

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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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ANIMAL FARM

A FAIRY STORY

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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