An absorbing tale for the patient reader.
A Dutch novel about loss, identity, and the lasting effects of war.
In 1922 in Flanders, four years after the end of the Great War, many wives still desperately seek their missing husbands. Noon Merckem has been kept in an asylum for four years, his name assigned to him by the doctors. Not physically injured, he has shell shock and has completely lost his memory. Several women try to claim him, but they cannot properly identify him. But Julienne Coppens correctly says he has a certain scar from an old accident, and against medical advice he is released into her care. She tells him his real name is Amand Stephaan Coppens, he’s the father of their two children, proprietor of a photography shop with his name in the window, and she has been waiting for him for eight years. Already her family is living on the margins: She breaks a rabbit’s neck in her backyard and cooks it up with prunes for supper, and she struggles to pay the rent. Quite an adjustment lies ahead: “She has him back and yet she doesn’t,” because he doesn’t remember her. At first, they are not physical, but eventually they enjoy the warmth of each other’s bodies in bed. “And weeks of outrageous happiness follow,” but it hardly lasts. She takes charge of his life and his well-being. And he “feels nothing, as if she’s gutted and skinned him and left nothing but an empty carcass.” More dramatically, he suffers tumultuous nightmares and once awakens in shock to realize he is nearly strangling her. He dreams of the battlefield, and tells her he vaguely remembers red flares, machine-gun fire, exploding shells, and being buried alive under a pile of dead bodies. But he does not trust these memories, and he begins to wonder if he can trust Julienne. This is a story about healing a soldier’s mind after surviving years of carnage, and it is about restoring mutual trust and love after so much has happened. Stylistic quirks may be problematic or not, according to readers’ tastes. It is almost 600 pages of run-on sentences with many including up to 100 words and 10 comma-separated clauses. And the author begins most paragraphs with “And.” And she buries all dialogue in the narrative.
An absorbing tale for the patient reader.Pub Date: May 13, 2025
ISBN: 9781954404328
Page Count: 576
Publisher: New Vessel Press
Review Posted Online: April 19, 2025
Kirkus Reviews Issue: May 15, 2025
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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