Seriously brilliant, seriously flawed, ambitious, and delicious.
D.H. Lawrence, Jackie Kennedy, J. Edgar Hoover, Lionel Trilling, Lady Constance Chatterley, and a host of others meet in an inspired fusion of fact and fiction.
To appreciate the delights of MacLeod's masterful novel, which takes its title from the original title of Lady Chatterley's Lover, one must have the patience to let it emerge from some dubious decisions about where to begin and how to unfold. These miscalculations recede as the full measure of the book becomes clear, about halfway through its more than 600 pages; MacLeod's material might have provided another author with several novels, a few stories, and an essay or two. One plotline—"The Exile"—unfolds in Lawrence's time, exploring the "ever-expanding ‘club’ of the aggrieved" he created by modeling his characters on life. Another—"The Subversive"—tracks Jackie Kennedy in the run-up to the 1960 election. A fictional FBI agent photographs Jackie at the New York obscenity trial over Chatterley; he becomes entangled in Hoover's plot to take down JFK while she meets Lionel Trilling to discuss the book. A third plotline covers the British obscenity trial in 1960; this section includes some lively fourth-wall–breaking and manages to nearly morph into a page-turner. But how closely is it based on the transcripts? Again and again, one feels eager to know where fact meets fiction—did the novelist Barbara Wall really write this wonderful, long letter to the defense attorney?—but the author is not inclined to tell us. "I have included letters and documents that have been faithfully reproduced; other such items have been invented, condensed, added to or modified for clarity," she writes at the end of the book. If you want more, she continues, go back to the original sources. Call us lazy, but we might prefer more detailed notes. Nevertheless, there is much to enjoy here. At a time when sex is so often linked with exploitation and abuse, Lawrence's central equation between physical passion and profound emotional connection is moving and nearly exotic. MacLeod's interpretation of this gospel includes a lovely Lawrentian scene of sex in a library and a thought, attributed to Jackie Kennedy, about the power derived from sex: "the secret act of beholding the public, daily person—the lover, sanctioned or illicit—transformed in one's presence into a private, raw spirit."
Seriously brilliant, seriously flawed, ambitious, and delicious.Pub Date: Sept. 14, 2021
ISBN: 978-1-63557-610-8
Page Count: 624
Publisher: Bloomsbury
Review Posted Online: June 28, 2021
Kirkus Reviews Issue: July 15, 2021
BOOK REVIEW
BOOK REVIEW
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
An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.
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
PERSPECTIVES
PERSPECTIVES
SEEN & HEARD
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