Of a piece with Pynchon’s recent work—not quite a classic à la V. but in a class of its own—more tightly woven but no less...

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BLEEDING EDGE

Pynchon (Inherent Vice, 2009, etc.) makes a much-anticipated return, and it’s trademark stuff: a blend of existential angst, goofy humor and broad-sweeping bad vibes.

Paranoia, that operative word in Pynchon’s world ever since Gravity’s Rainbow (1973), is what one of his characters here calls “the garlic in life’s kitchen.” Well, there’s paranoia aplenty to be had in Pynchon’s sauté pan, served up in the dark era of the 9/11 attack, the dot-com meltdown and the Patriot Act. Maxine Tarnow is, on the face of it, just another working mom in the city, but in reality, after she’s packed her kids’ lunches and delivered them at school, she’s ferreting around with data cowboys and code monkeys, looking into various sorts of electronic fraud. Her estranged husband, apparently a decent enough sort, “to this day has enjoyed a nearly error-free history of knowing how certain commodities around the world will behave,” but Maxine has a keen sense of how data flows and from whom to whom. One track she follows leads to a genius billionaire and electronic concoctions that can scarcely be believed—but also, in a customarily loopy way, to organized crime, terrorism, big data and the U.S. government, with the implication, as Horst later will ponder, that all are bound up in the collapse of the Twin Towers. (“Remember the week before this happened, all those put options on United and American Airlines? Which turned out to be exactly the two airlines that got hijacked?”) If you were sitting in a plane next to someone muttering about such things, you might ask to change seats, but Pynchon has long managed to blend his particularly bleak view of latter-day humankind with a tolerant ability to find true humor in our foibles. If he’s sometimes heavy-handed, he’s also attuned precisely to the zeitgeist, drawing in references to Pabst Blue Ribbon longnecks, Mamma Mia, the Diamondbacks/Yankees World Series, Office Space, and the touching belief of young Zuckerbergs in the age before Zuckerberg that their bleeding-edge technology—“[n]o proven use, high risk, something only early-adoption addicts feel comfortable with”—will somehow be put to good use rather than, as Pynchon assures us, to the most evil applications.

Of a piece with Pynchon’s recent work—not quite a classic à la V. but in a class of its own—more tightly woven but no less madcap than Inherent Vice, and sure to the last that we live in a world of very odd shadows.

Pub Date: Sept. 17, 2013

ISBN: 978-1-59420-423-4

Page Count: 512

Publisher: Penguin Press

Review Posted Online: Aug. 15, 2013

Kirkus Reviews Issue: Sept. 1, 2013

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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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