HELLO DARLING, ARE YOU WORKING?

Candide in modern drag: British actor Everett's first novel retails the naughty adventures of a pill-popping, omnisexual naif as he cruises a jet-set world in which everything, especially him, is for sale. Still smarting from his childhood discovery of the male member that will prevent him from becoming a Great Actress, and warmed by his fonder memories of his early days as a precocious male prostitute, onetime soap-opera star Rhys Waveral is living on, and living it up, in a suite at the Hotel Leicester in Paris—until his father, Brigadier Dimbleby (``Dim'') Waveral, phones with the news that Rhys's financial advisor, ``that bloody deviant, Gavin Winterton,'' has just sold him short in the stock market crash of '87. What to do? With stoic sighs, Rhys (a.k.a. Dorhys, Dorita, Lady Beth Fraser, etc.) runs off on his lovely, accident-prone wife Adrienne to return to his old profession, agreeing to accompany hideous Rikki Lancaster, ``the Duchess,'' and her lesbian medium companion, Elida Schumann, to Tangiers for a week of torrid, expensive passion. As Dim takes off for Paris to have it out with his wayward son, and Rhys's friend Peach Delight takes it on herself to dazzle him with Ecstasy and dÇcolletage, Rhys plunges into a furious carnival of grotesques—from Sir Maurice Goodbuns to Little Beige Riding Hood—all coming together (so to speak) for a memorable climax at Ashby de la Zouche's costume extravaganza, the 1988 Fruit Ball. Since Everett hasn't Joe Orton's command of the mechanics of farce, Rhys's riotous, in-your-face odyssey finally comes across as sad and a little boring. But readers hungry for the latest sex-and- drugs update on the too-too beautiful people, darling, could make this a hit anyway.

Pub Date: Sept. 22, 1992

ISBN: 0-688-11786-4

Page Count: 240

Publisher: Morrow/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 1, 1992

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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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