by Michelle Tocher ‧ RELEASE DATE: N/A
A slim but fulfilling novel in stories about the madness of families.
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A girl attempts to survive her chaotic Canadian family in Tocher’s literary novel.
Alice Montgomery, the only daughter in a household with four kids, is bookish and probably the best adjusted of the lot—not that that’s saying much. Her mom, Maddy, moved their family to Calgary after Alice’s dad, Jon, died of a heart attack. Her oldest brother, Jeffrey, is a star athlete who messes up that stardom (and a lot of other things) due to his unresolved issues regarding his deceased father. He goes so far as to start using his mother’s maiden name, Duval. The middle brother, Charlie, is Maddy’s favorite; she claims he has “the gift of faith.” Charlie ping-pongs between delinquency and religiosity throughout his childhood, though he’s consistently friendless and conniving. The youngest is Zack. The secret about Zack is that he was adopted. The other secret about Zack—unknown even to Maddy—is that Zack is the love child of Jon and his co-worker at the bank. The ever beleaguered Maddy is a former artist forced to work two separate secretarial jobs in order to provide for her kids. She is finally pulling herself out of the spiral she fell into following her husband’s death. Then there’s Aunt Bel, Maddy’s outspoken older sister, who took the family in when they first arrived in Calgary. Bel and Maddy’s relationship has always been tempestuous. “I suppose Mama wouldn’t be herself without Bel flying in and out of her life on a broomstick, breaking Mama’s spirit and giving her a chronic case of nervous hysteria,” narrates Alice. “Still, family is family. When the chips were down, blood flowed to blood.” Together, this fractious unit must confront problems old and new, from Maddy’s return to dating and painting to the circumstances of Jon’s death and Zack’s parentage. In times of crisis, there’s always family…though that may not always be a good thing.
Tocher’s prose, in the mouth of Alice, is spry and unsparing; here she describes Aunt Bel’s indelicate impression of Alice’s grandmother’s sleeping sickness: “ ‘She looked like this.’ Bel stiffened her body and twisted it into a hideous shape. The newspaper slid to the floor. She screwed her jaw to one side and raised her arms up into air with her hands clawed as if they were about to attack. By the time she came out of her pose, I had fled in terror.” The novel, short at under 120 pages, is told in episodic chapters that tend to revolve around a single character or incident. The order isn’t chronological, but a portrait slowly emerges of the family and its dynamic. Alice provides a stable, sympathetic center to the narrative. A shrewd observer of the people around her, her quest to understand her father’s behavior and absence becomes an unexpected driving force in the book. The book’s brevity works in its favor. Tocher manages to pack a lot into her pages.
A slim but fulfilling novel in stories about the madness of families.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Manuscript
Review Posted Online: April 30, 2021
Review Program: Kirkus Indie
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by Michelle Tocher ; illustrated by Richard Row
by Kathryn Stockett ‧ RELEASE DATE: May 5, 2026
Fans of Stockett’s bestselling debut will love this engaging follow-up.
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New York Times Bestseller
Stockett heads to Mississippi for another historical novel about feisty women.
This time, perhaps recalling criticisms of cultural appropriation in The Help (2009), she sticks to feisty white women, with one exception. The setting is Oxford in 1933. For two miserable years, 11-year-old Meg has lived in “the Orphan,” a county asylum for parentless girls. Chairlady Garnett—a villain so one-note she’d twirl a mustache if she had one—makes it her mission to ostracize the older girls she deems unadoptable, stigmatizing them as offspring of the “feebleminded” mothers who abandoned them. She particularly has it in for smart, sassy Meg, who refuses to believe her mother’s mysterious disappearance was deliberate. Elsewhere in Oxford, Birdie Calhoun comes to visit her sister Frances, who married a wealthy banker, to ask for money on behalf of their mother and grandmother back in Footely. Frances isn’t thrilled by this reminder of her impoverished small-town origins. But she’s trying to climb up in Oxford society by volunteering at the Orphan, the asylum’s books need to be done before the state inspector shows up in a few weeks, and Birdie is a bookkeeper. Having neatly arranged to keep Birdie in town and draw these two storylines together, Stockett goes on to spin a compulsively readable yarn with enough plot for a half-dozen novels. Birdie and Meg become friends, Meg is adopted despite Garnett’s best efforts, Meg’s mother turns up at the Orphan demanding to know where her child is—and that’s less than a quarter of the way through a long, winding narrative that keeps piling on more dramatic developments until all loose ends are neatly, if hastily, wrapped up in the final pages. Stockett might be making a point about Southern women facing facts and standing up for themselves, but mostly this is just a satisfyingly twisty tale that should make a great miniseries.
Fans of Stockett’s bestselling debut will love this engaging follow-up.Pub Date: May 5, 2026
ISBN: 9781954118812
Page Count: 656
Publisher: Spiegel & Grau
Review Posted Online: Feb. 2, 2026
Kirkus Reviews Issue: March 1, 2026
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by Ann Patchett ‧ RELEASE DATE: June 2, 2026
An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.
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New York Times Bestseller
A chance meeting in a museum unlocks a long-closed door in a family’s past.
Of a piece with her last three novels—Commonwealth (2016), The Dutch House (2019), and Tom Lake (2023)—Patchett’s latest explores the evolution of families over time, romantic secrets, and step-relationships, again giving these topics the wry and tender treatment that is distinctively hers. As it begins, Daphne Fuller’s attentive husband, Jonathan, notices that a man has been following them through the Metropolitan Museum of Art. At first they chalk it up to the fact that “old guys love [Daphne],” as she told Jonathan decades ago, a notion he has held onto "like a souvenir postcard from another era." But it turns out that, though Daphne doesn’t recognize him, Eddie Triplett is her former stepfather. Like the author herself, as recalled in her 2020 essay “Three Fathers,” Daphne has had three dads. Her biological father, a deep-sea fisherman named Buddy Zabriskie, left the family early; her current stepfather, Lucas Ekker, lives with her mother in retirement in Massachusetts. Ekker is an unprepossessing sort Abby met working as the publicist for his self-help books, Positivity!, Positively Positive!, The Positivity Workbook!, Positive Every Day!, ad infinitum. The man in the museum, Eddie Triplett, was also someone her mother met through her job in publishing, and once Daphne realizes who he is, she remembers that “[their] hearts were forever stitched together.” This is because Daphne and Eddie were in a serious car accident when she was 9 years old, after which her mother immediately divorced him and evicted him from their lives. The details of that accident—among them lies the reason the novel is named after a horse called Whistler—are gradually wheedled out of Daphne by her younger sister, Leda, a clinical psychologist in New York and a reliable source of insight on the narrative’s key issues. “‘You make it sound like I’ve been keeping all this from you, but I’m not,’ [Daphne] said. ‘Who goes through life thinking about what happened when they were nine?’ ‘It’s all people think about,’ Leda said.”
An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.Pub Date: June 2, 2026
ISBN: 9780063511637
Page Count: 304
Publisher: Harper/HarperCollins
Review Posted Online: April 6, 2026
Kirkus Reviews Issue: May 1, 2026
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