A sweet and well-paced series of urban vignettes.

READ REVIEW

NEW YORK

A collection of short stories explores New York City across time.

Clarke (The Notorious Dream of Jesús Lázaro, 2015, etc.) returns with a volume of tales set in the Big Apple. The city is the primary connection between these stories, though many of them share a similar protagonist: middle-aged or perhaps a bit older and from a relatively well-to-do background. These guys have been working in corporate America for years as admen or attorneys. Their families leave them money and invest in their startups. “Everyone in L.A.,” the first tale in the collection, sets the tone well. A struggling novelist named Pat rides the subway and invents elaborate fictions from the scraps of conversation he overhears. Clarke writes convincing and authentic dialogue, capturing the youthful slang readers might hear on the train, but the scenario itself feels somewhat clichéd. The same can be said of the next story, “The High Line,” in which a wealthy corporate lawyer overcomes the death of his wife by helping a homeless man on the subway and seeing how the other half lives. Tales like these feel like new, if not fresh, takes on classic stories of New York by Salinger or Capote—fine company, all in all. “My Beautiful Francisco,” in particular, with its Spence School girls and polo matches in the Hamptons, is a charming homage to Salinger’s Upper East Side. But Clarke is most successful when he tackles more modern New York characters. “Thank You, Pierre-Auguste” is an appealing little love story set in gentrified Williamsburg, in which a successful sculptor falls in love with a divorcée-turned-baker and embraces new artistic media. Though a bit saccharine, it’s a timeless romance set in a fiercely contemporary situation. Similarly, “The Three-Cornered Hat” takes a 21st-century figure as its protagonist—a startup founder—and sends him on an awkward evening of tango dancing in the Meatpacking District. While Clarke may not break new ground in the vast genre of New York literature, his enjoyable collection often captures an authentic charm and should please any avid reader of stories of the city.

A sweet and well-paced series of urban vignettes.

Pub Date: Nov. 1, 2017

ISBN: N/A

Page Count: 252

Publisher: Astor & Lenox

Review Posted Online: Aug. 17, 2017

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

DEVOLUTION

Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).

A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Pub Date: June 16, 2020

ISBN: 978-1-9848-2678-7

Page Count: 304

Publisher: Del Rey/Ballantine

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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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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