THE SHADOW OF DESIRE

Stowe (Not the End of the World, 1992) again explores family dysfunction, but this smart, carefully written second novel is much more than its subject: It's brittle and sharp, poignant and tough- minded, a balancing act that takes a breathtaking aesthetic risk. Stowe's narrator, Ginger Moore, is also much more than her rÇsumÇ: a middle-aged divorced New Yorker who writes biographies of obscure female figures in English literature whose talents went unnoticed or unfulfilled. For all of her relentless self-criticism, and her reflexive sarcasm, she's no whiner, partly because she's a duty-bound midwestern WASP. Her Christmas trip to Michigan—a pilgrimage that lends the book structure—also stirs up various revelations about family resentments and secrets. Her mother, Virginia, a former southern belle, now wallows in desperation and need, and an ``insatiable appetite for vodka'' that developed after the accidental death of her third child. Ginger's 41-year old brother, Cease (for Cecil), is bitter, sardonic, consumed by his hatred for his mother, secretly blaming himself for both his brother's death and his mother's retreat into booze. Meanwhile, Cecil Sr., a wealthy retired lawyer, enjoys his willed oblivion— his gentle jokes and his everyday routines. Admittedly ``intense,'' Ginger approaches the holidays with customary dread—this is a family who watches Psycho on Christmas Eve, after all. What makes the novel so compelling are the voices distilled through Ginger's consciousness: her smart-mouthed boyfriend, a hot young Dennis Leary-like comic; her Panel of Judges, a superego drawn from literary history; and her own overwrought intelligence. She scrutinizes the world, and her family history, with Jamesian intensity only to discover its transparency, which also makes her suspicious of all the pop insights that might otherwise define (and neatly dismiss) this screwed-up brood. Further proof that art often emerges from the most ordinary materials, transformed by style, humor, and grace.

Pub Date: June 20, 1996

ISBN: 0-679-42066-5

Page Count: 240

Publisher: Pantheon

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 1996

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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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