A coming-of-adolescence novel that rigorously avoids cliche.
An English boy engages with sex, art, and religion without the guidance of his failing parents.
Daniel’s father is the headmaster of a choir school, a plum position in a small English town and one that will soon evaporate. An illness and financial mismanagement force him into an early retirement and a half-life of ill-advised farming. Daniel’s mother, meanwhile, slumps into a depression that eventually becomes suicidal. In the midst remains the boy (as Amherst calls him), trying to matter-of-factly interpret the adult world. He’s impressed by psychotherapy, which he learns about on TV (“People are just like books—full of hidden meanings that need to be unearthed by an attentive reader”) and becomes indignant that the Anglican Church says he’ll have to become confirmed before receiving communion, so he refuses to do it (“Is this not exactly what Jesus would have done, he asks his parents? His mother does not welcome the comparison”). Daniel’s joys are drawn from Philip, a boy as smart as him but with more charisma and a stable family, and from Mr. Miller, a “young and exciting” art teacher who tutors the two boys in painting while their classmates play. Mr. Miller’s hipness is thrilling—he prefers Fauvism to John Constable—but it becomes sinister when he discusses “sex appeal” with a class of preadolescents. The novel’s plain style is contemporary, though Amherst is comfortable with figurative language: A vicar has a “face like a spoon,” the gap between two posh houses is “like a held breath before one makes a choice.” But when Amherst embraces ambiguity, in the moments where Daniel must admit no answer is to be found, the novel contains the same eerie spark that makes the bildungsromans of Hermann Hesse crackle.
A coming-of-adolescence novel that rigorously avoids cliche.Pub Date: Feb. 25, 2025
ISBN: 9780593718520
Page Count: 208
Publisher: Riverhead
Review Posted Online: Jan. 18, 2025
Kirkus Reviews Issue: Feb. 15, 2025
An affecting portrait of a prickly woman.
A lifetime’s worth of letters combine to portray a singular character.
Sybil Van Antwerp, a cantankerous but exceedingly well-mannered septuagenarian, is the titular correspondent in Evans’ debut novel. Sybil has retired from a beloved job as chief clerk to a judge with whom she had previously been in private legal practice. She is the divorced mother of two living adult children and one who died when he was 8. She is a reader of novels, a gardener, and a keen observer of human nature. But the most distinguishing thing about Sybil is her lifelong practice of letter writing. As advancing vision problems threaten Sybil’s carefully constructed way of life—in which letters take the place of personal contact and engagement—she must reckon with unaddressed issues from her past that threaten the house of cards (letters, really) she has built around herself. Sybil’s relationships are gradually revealed in the series of letters sent to and received from, among others, her brother, sister-in-law, children, former work associates, and, intriguingly, literary icons including Joan Didion and Larry McMurtry. Perhaps most affecting is the series of missives Sybil writes but never mails to a shadowy figure from her past. Thoughtful musings on the value and immortal quality of letters and the written word populate one of Sybil’s notes to a young correspondent while other messages are laugh-out-loud funny, tinged with her characteristic blunt tartness. Evans has created a brusque and quirky yet endearing main character with no shortage of opinions and advice for others but who fails to excavate the knotty difficulties of her own life. As Sybil grows into a delayed self-awareness, her letters serve as a chronicle of fitful growth.
An affecting portrait of a prickly woman.Pub Date: May 6, 2025
ISBN: 9780593798430
Page Count: 304
Publisher: Crown
Review Posted Online: Feb. 15, 2025
Kirkus Reviews Issue: March 15, 2025
SEEN & HEARD
Have tissues ready as you read this. A small package will do.
A love story about a life of second chances.
In Nassau, in the Bahamas, casino detective Vincent LaPorta grills Alfie Logan, who’d come up a winner three times in a row at the roulette table and walked away with $2 million. “How did you do it?” asks the detective. Alfie calmly denies cheating. You wired all the money to a Gianna Rule, LaPorta says. Why? To explain, Alfie produces a composition book with the words “For the Boss, to Be Read Upon My Death” written on the cover. Read this for answers, Alfie suggests, calling it a love story. His mother had passed along to him a strange trait: He can say “Twice!” and go back to a specific time and place to have a do-over. But it only works once for any particular moment, and then he must live with the new consequences. He can only do this for himself and can’t prevent anyone from dying. Alfie regularly uses his power—failing to impress a girl the first time, he finds out more about her, goes back in time, and presto! She likes him. The premise is of course not credible—LaPorta doesn’t buy it either—but it’s intriguing. Most people would probably love to go back and unsay something. The story’s focus is on Alfie’s love for Gianna and whether it’s requited, unrequited, or both. In any case, he’s obsessed with her. He’s a good man, though, an intelligent person with ordinary human failings and a solid moral compass. Albom writes in a warm, easy style that transports the reader to a world of second chances and what-ifs, where spirituality lies close to the surface but never intrudes on the story. Though a cynic will call it sappy, anyone who is sick to their core from the daily news will enjoy this escape from reality.
Have tissues ready as you read this. A small package will do.Pub Date: Oct. 7, 2025
ISBN: 9780062406682
Page Count: 320
Publisher: Harper/HarperCollins
Review Posted Online: July 18, 2025
Kirkus Reviews Issue: Aug. 15, 2025
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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