Written with a matter-of-fact flatness, the novel becomes indelibly unsettling as it progresses.

THE SHELTER CYCLE

A metaphysically haunting, shape-shifting novel that keeps the reader off balance and can’t be fully appreciated until its climax.

In the “Acknowledgments” following the novel, Rock (My Abandonment, 2009, etc.) calls this “a more interpersonal, bewildering, educational and emotional experience than anything I have ever written.” Readers will likely not only understand those feelings, but share many of them. Like his previous novel, this one reflects considerable research on the fringes of society, specifically the apocalyptic sect of the Church Universal and Triumphant, which preached that the world would end in the late 1980s. It didn’t. Yet fortified underground survival shelters remain, as do some believers. The novel reunites a man and a woman who were close as children when raised within the church. Francine is married and pregnant, with her present life with her husband, Wells, seeming to have little connection with her childhood past. A neighbor girl goes missing and is feared dead, and Francine helps with the search. Inexplicably (at least with no explanation that Wells or the reader can initially accept), the friend she hasn’t seen for decades appears seemingly from nowhere to help with the search, and her bond with him quickly seems stronger than the one she shares with her husband. With that setup, the novel then alternates among different types of chapters: a document Francine writes in remembrance of her experience with the church—perhaps to make sense of her life for her unborn child or even for herself, but found by Wells after Francine disappears—as well as ones that trace the pilgrimage of her friend Colville, the flight of Francine, the mysteries that Wells must resolve and the appearance of some sect leaders, at least one of whom suggests a divine purpose that strains the reader’s credulity but makes perfect sense to Colville. And to Francine? She finds “the Teachings still inside her, waiting to be brought into practice, to surface,” as “here she was again, circling back, a person with a person inside her.”

Written with a matter-of-fact flatness, the novel becomes indelibly unsettling as it progresses.

Pub Date: April 2, 2013

ISBN: 978-0-547-85908-8

Page Count: 224

Publisher: Houghton Mifflin Harcourt

Review Posted Online: Jan. 16, 2013

Kirkus Reviews Issue: Feb. 1, 2013

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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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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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