Fiction to linger over.

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ON SWIFT HORSES

A first-time novelist explores desire and identity in the mid-20th century.

The year is 1956. Muriel is 21. She lives in San Diego with her husband, Lee. He’s just been discharged from the Navy and dreams of buying a piece of land in a part of California that is just being developed. Muriel has made no secret of her lack of interest in this plan; what she does keep secret, though, is her passion for betting on horses. One of her waitressing jobs is in a bar frequented by retired jockeys, bookies, and other habitués of the racetrack. She listens to their gossip, makes canny wagers, and passes off her winnings as tips. Muriel’s success gives her a sense of control and possibility, and the fact that she keeps her gambling from her husband gives her a sense of independence. Marriage is not quite what she expected it to be. When she agreed to move to California, it was on the understanding that Lee’s brother, Julius, would be coming with them. Lee is solid and reliable and clearly devoted to her, but it's Julius who inspires her to imagine a world larger and more exciting than the one she's known. Instead, Julius wanders the West until he lands in Las Vegas. The city suits him. Like Muriel, he’s a gambler, but he also discovers that Las Vegas is a place where his sexuality does not make him conspicuous. Pufahl presents a vision of the 1950s that is distinctly at odds with the idea that this decade was an American golden age. She reminds us that there has never been a time when women didn’t work outside the home and that, in our nostalgic remembering of that era, we tend to elide the bigotry and oppression experienced by many. More than that, though, Pufahl offers exquisite prose. Her style is slow and deliberate but also compelling because her language is so lyrical and specific. Consider Muriel’s first glimpse of the thoroughbreds: “They are tall and obdurate and only lightly controlled.” The book is filled with such rhythmically lovely, splendidly evocative, and masterfully precise descriptions. In these moments, it feels like Pufahl could not possibly have said what she needed to say with any other words.

Fiction to linger over.

Pub Date: Nov. 5, 2019

ISBN: 978-0-525-53811-0

Page Count: 320

Publisher: Riverhead

Review Posted Online: July 15, 2019

Kirkus Reviews Issue: Aug. 15, 2019

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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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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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