Rueful and autumnal, but very moving.

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EMILY, ALONE

Another quietly poignant character study from O’Nan (Songs for the Missing, 2008, etc.), this one tracing the daily routines and pensive inner life of an elderly widow.

Emily Maxwell, newly bereaved in Wish You Were Here (2002), is now more or less accustomed to life without her beloved husband Henry. His death and the more recent loss of her best friend Louise are still painful, but she’s adjusted. She has her aging dog Rufus for company; she’s a regular churchgoer; she reads and listens to classical music; every Tuesday she drives with her sister-in-law Arlene from their separate homes in Pittsburgh to the suburban Eat ‘n Park’s two-for-one breakfast buffet. Arlene’s collapse at the restaurant dramatically closes the first chapter, but otherwise O’Nan’s low-key narrative bears out Emily’s uneasy sense that “she was at an age where all was stillness and waiting.” Holiday visits from her children underscore fraught family relations. Daughter Margaret, a recovering alcoholic in shaky economic circumstances, has always annoyed Emily with her messy feelings and disorganized ways. Son Kenneth is dutiful but reserved; Emily and his wife Lisa dislike each other. Her four grandchildren are in college or beginning careers; “it was hard to follow their lives from a distance.” Emily is well aware that she too distanced herself from her family when she married the more privileged Henry, and her unsentimental musings over past and present relationships form the novel’s emotional core as nine months unfold from November 2007 to the following July. O’Nan gently depicts Emily—inclined to be as critical of herself as of those who don’t meet her exacting, old-fashioned standards—trying to judge less and accept more. She doesn’t change so much as let go, learning that an existence diminished by age and loss is nonetheless precious for the pleasures that remain: gardening in the spring, going through childhood mementoes, simply knowing that she has lived, loved and endured.

Rueful and autumnal, but very moving.

Pub Date: March 21, 2011

ISBN: 978-0-670-02235-9

Page Count: 272

Publisher: Viking

Review Posted Online: Dec. 30, 2010

Kirkus Reviews Issue: Jan. 1, 2011

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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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