Chock-full of rich detail and literary intrigue.

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THE WEIGHT OF INK

A mysterious collection of papers hidden in a historic London home sends two scholars of Jewish history on an unforgettable quest.

When Helen Watt receives a phone call from a former student about centuries-old documents secreted away in his posh residence, she doesn’t hold out much hope for their importance. Close to retirement, Helen’s seen it all. But a cursory look at the papers tells her she’s holding something special. She returns to the house with Aaron Levy, an eager American graduate student, in tow. Despite butting heads over process, the unlikely pair of literary detectives uncover a stunning truth: the writer of the documents is a 17th-century woman who chronicled the Jewish diaspora, from the horrors of the Spanish Inquisition to the rich trade city of Amsterdam and the relative safe haven of London. Kadish (I Was Here, 2014, etc.) deftly weaves contemporary scholarly intrigue with the voice of Ester Velasquez, an incandescent 17th-century mind who longed to engage with the brilliant men of her day. “Here I begin,” writes Ester in her very first attempt. “I am one soul in a great city.” Ester risks everything to wrestle with ideas that counter rabbinical teachings, developing a secret identity to protect her family from harm—and relishing her newfound freedom. Clocking in at almost 600 pages, the novel could have used a judicious pruning to highlight the intellectual game of cat and mouse that plays out across four centuries. Still, Kadish’s characters are memorable, and we’re treated to a host of them: pious rabbis and ribald actors, socialites and troubled young men, Mossad agents and rule-worshipping archivists. From Shakespeare’s Dark Lady to Spinoza’s philosophical heresies, Kadish leaves no stone unturned in this moving historical epic.

Chock-full of rich detail and literary intrigue.

Pub Date: June 6, 2017

ISBN: 978-0-544-86646-1

Page Count: 592

Publisher: Houghton Mifflin Harcourt

Review Posted Online: March 21, 2017

Kirkus Reviews Issue: April 1, 2017

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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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