A rather thrilling adventure spun off from a throwaway joke.

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THE LAST AMERICAN VAMPIRE

Grahame-Smith (Unholy Night, 2012, etc.) continues his lunatic reimagining of American history after the death of Abraham Lincoln, Vampire Hunter.

Keeping in mind that Grahame-Smith was responsible for the screenplay of his first Lincoln book's awful film adaptation, this sequel is still better than his more gimmicky offerings (see: Pride and Prejudice and Zombies, 2009). That said, it pretty much offers much, much more of the same. As before, Grahame-Smith is supposedly writing about the secret adventures of Henry Sturges, a vampire who is finally revealing his tale. Henry’s story picks up the night of Lincoln’s assassination, as Henry turns Lincoln into a vampire in order to save him but loses him in the end. Later, Henry is told by Adam Plantagenet, a founder of the Union of Vampires, to seek out a mysterious “A. Grander VIII,” the monsters’ greatest threat and a figure from Henry’s past. Mostly, Grahame-Smith creates excuses over and over to mash up cool characters from history. In London, Henry stalks Jack the Ripper in the company of Bram Stoker and Arthur Conan Doyle. Remember when Nikola Tesla killed Rasputin with his secret death ray? (OK, that part was pretty cool.) These tales of twisted history are even accompanied by historical photographs, either altered or repurposed to serve the tale. When Lincoln resurfaces later, the old friends team up with Eliot Ness and his Untouchables, not to mention that fight to the death with the book’s villain on the decks of the Hindenburg. There’s an overarching plot about a long-term conspiracy—imagine one of James Ellroy’s novels shot through with a healthy dose of George Romero and you’re just about there—but readers who are jazzed by American vampire history probably don’t need the literary denouement anyway.

A rather thrilling adventure spun off from a throwaway joke.

Pub Date: Jan. 13, 2015

ISBN: 978-1-4555-0212-7

Page Count: 320

Publisher: Grand Central Publishing

Review Posted Online: Nov. 5, 2014

Kirkus Reviews Issue: Nov. 15, 2014

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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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