A book stuffed with revelations while keeping many secrets.
The Polynesian islands in the South Pacific are transformed by this historical epic into a region at once otherworldly and recognizable.
The Pulitzer Prize–winning Johnson (The Orphan Master’s Son, 2012) has established a reputation for spinning complex, colorful, and plausibly rococo yarns from civilizations remote from and mysterious to outsiders. Here, his audacious, unruly imagination roams with confidence through the island kingdom of Tonga as it undergoes societal uncertainty and the potential of war with other islands. At or near the center of this whirlwind is Kōrero, bold and insatiably curious daughter of a fisherman and a tattoo artist, whose discovery of a fishhook-shaped pendant in an ancestral graveyard signals the beginning of a grand, perilous, and transfiguring adventure that puts her, her family, and her friends on a sea voyage whose outcome could mean either salvation or oblivion for their people. The perilous odyssey is led by a figure known only as the Wayfinder, whose near-intuitive grasp of navigation by both the shifting waters and the celestial patterns of the night sky arouses in Kōrero her own aspirations of being a “way finder.” Telling stories, however, is her own means of navigating through the twists and turns of her life’s journey, and Johnson’s multilayered narrative has the baggy, wildly divergent feel of oral storytelling, in which the intrigues of royal power politics, often facilitated through violence, are woven with tales of familial conflict, verse by royal poets, and even the occasional monologue from Kōkī, the most articulate and, it seems, resilient of the islands’ many parrots. Such enchanted touches are deftly threaded into the rangy storyline by Johnson’s richly lyrical prose, which is also capable of handling the social dynamics of the Tongans along with the background stories of royalty and their rivals. At times, the saga can get so discursive that it risks leaving the reader on some reef or capsized by an unexpected surge from another time. Yet somehow, you yield to the novelist’s evocation of a world that, like the pendant recovered at the novel’s start, feels “both ancient and startlingly new.”
A book stuffed with revelations while keeping many secrets.Pub Date: Oct. 14, 2025
ISBN: 9780374619572
Page Count: 768
Publisher: MCD/Farrar, Straus and Giroux
Review Posted Online: July 17, 2025
Kirkus Reviews Issue: Aug. 15, 2025
PERSPECTIVES
Fans of Stockett’s bestselling debut will love this engaging follow-up.
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
BOOK REVIEW
Mostly charming, sometimes twee, with some really lovely things to say about poetry.
And now for some lessons in poetry and typesetting.
After Lessons in Chemistry (2022), a debut that became one of the most popular books of recent years, Garmus applies her unique comic sensibility to the story of Batter Gray, a man named after a family dog of mythic talents. A poetry maven who was reading Auden as a fourth grader, he was raised by a type-designer mother and historian father who dearly hoped he would choose some more viable profession than poetry. But via an amazing stroke of luck, he lands a job after college at Peck & Peck, an illustrious literary journal located in a beautiful building in New York City. He’s at the very bottom of the complex and dysfunctional totem pole, making copies in the basement, struggling not to run afoul of the cantankerous editor-in-chief, Salton Peck, or his smarmy assistant, Dexter York, both of whom have taken an instant dislike to our hero (and can never get his name right. Few people can). And to be honest, Batter is not without his flaws. The novel bogs down a bit in the middle, with Salton constantly excoriating his staff in ALL CAPS and much ado over the possibility that submissions have been taken outside the building, which is forbidden. Along the way, many, many famous poets are name-checked, as are many typefaces, since Batter has been raised to instantly identify a font in the wild. The best example of this occurs during his brief sojourn in jail: “The thing I kind of admired about Motherfucker II, besides his manners, was this huge tattoo he had on his neck that read I will fuck you up in ITC Bolt. Call me my mother’s son, but whoever inked it nailed the kerning.” The narrative picks up steam toward the end, as bad guys become good guys, mysteries are solved, and Batter throws one hell of a party.
Mostly charming, sometimes twee, with some really lovely things to say about poetry.Pub Date: Oct. 13, 2026
ISBN: 9781668251065
Page Count: 432
Publisher: Scribner
Review Posted Online: July 6, 2026
Kirkus Reviews Issue: Aug. 1, 2026
BOOK REVIEW
PERSPECTIVES
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