LOSER DEALS

Known for his screenplay for The African Queen and his lifelong friendships with Ernest Hemingway and John Huston (about whom he wrote in Dangerous Friends, 1992), Viertel pens a clunky yet charming tale of an old American actor living in southern Spain. Narrator Robert Masters, 60ish, has spent most of the last 40 years in Europe after his career as a Hollywood supporting actor was terminated by a studio heavy who caught him in bed with the heavy's mistress. After two failed marriages and a moderately successful stint in European productions, Masters has retired to the Costa del Sol. As the novel begins, he is experiencing rough times: He can't afford his villa and rents it out, only to have the tenants skip town; he lives across the hall from his Spanish son- in-law, a private detective who is in the midst of a nasty separation from his daughter; and things aren't perfect with his longtime girlfriend. As a favor to his son-in-law, Masters agrees to tail Sir Cecil Collins, a British tycoon whose wife wants proof that he's cheating. When a thug holds up Collins on a golf course, Masters intervenes with a seven iron and is instantly befriended by the tycoon. Complicating matters further are Lady Collins, who makes passes at Masters, and the thug's sister, a beautiful flamenco dancer who uses her charms to convince the actor that he should drop the charges against her poor brother. Adding to the cast of rather stock characters is the arrival of a mega-yacht filled with old Hollywood friends, including the mistress who caused Masters's banishment, who have come to take him back to California. There's plenty of action and little emotion in this cool, detached novel, which nevertheless spins an entertaining yarn about a protagonist coming to grips with always being the odd man out.

Pub Date: Feb. 16, 1995

ISBN: 1-55611-434-6

Page Count: 256

Publisher: Donald Fine

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 15, 1994

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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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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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