Overlong, windy nonsense.

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UPGRADING

Handsome and dissolute young Brit seeks Sugar Mommy.

Oddly enough, selling ad space at a London daily may not be the life of glamour one would expect, but Andrew Collins is doing just that—and feeling about to go mad. He’s got a lazy, perennially gassy roommate who’s like a growth on the sofa and a bitter, power-mad boss itching for ways to make Andrew’s life hell. Deciding to change his station—or at least his bank account—Andrew goes to work for Jonathan, who runs an escort service for women seeking male companionship. Soon, he’s a permanent fixture on the arm of an extremely wealthy and quite bored older American woman by the name of Marion. At first, Jonathan merely accompanies her to dinner at restaurants that would have taken a year of his own salary, but eventually he’s sleeping with her, then deciding whether to accept her offer to leave his rundown, smelly flat and move in with her. As anybody who’s flipped through a Jackie Collins novel can tell you, money (especially someone else’s) doesn’t buy happiness, just lots of stuff you feel embarrassed wearing. As for Andrew, he’s not the smartest of lads and is taken by surprise when Marion turns out to be (gasp!) mean, vindictive, and manipulative. This fact seems also to have taken first-novelist Brooke by surprise, since he turns what should have been a breezy, 200-page quick read into a padded-feeling omnibus of snooze wherein Andrew flits from one faux moral crisis to another. It’s all capped off with the requisite Sunset Boulevard–style dilemma in which Andrew must choose between the evil old hag (financial security) and the young, funny girl of his dreams (morally righteous poverty). Somewhere in the mix is a tale of lost youth scrambling to keep an individual identity in a capitalist nightmare—but Brooke’s done his best to bury it.

Overlong, windy nonsense.

Pub Date: Aug. 1, 2004

ISBN: 0-7434-7762-6

Page Count: 384

Publisher: Downtown Press/Pocket

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 1, 2004

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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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