An often engaging novel that’s undermined by its turn toward grandiose political machinations.
An American gemologist searches for a legendary emerald mine in the wetlands of Brazil and gets drawn into a vast political conspiracy in Brewer’s thriller set in the early 1990s.
Jake Tate spent years selling contraband diamonds in Angola, a dangerous but lucrative trade, but then disaster struck—the country erupted into civil war, and he was forced to flee over the border into Zaire. There, he was arrested and imprisoned and lost most of the diamonds he was transporting. He’s free now, but he can’t afford to ignore the possibility of a big score. While trying to buy emeralds in Brazil from old friend and jeweler Itzhak Blum, Jake learns that Itzhak’s impressive emerald collection comes from the Borba mine, nestled deep in the Brazilian jungle in the remote locale of Pantanal. Itzhak’s source of information, professor Joaquim Fontes, has vanished, but he offers Jake the man’s address in exchange for a piece of the action if Jake tracks down the mine. However, when Jake arrives at the professor’s home, he finds the man’s wife, Isabella, in despair—she’s convinced her husband has been murdered, and his map to the mine has been stolen. Jake believes it was likely pilfered by Heiner Klimt, a German rival who’s bested Jake for years. However, Brewer has an adventurous inclination toward the implausible, so he makes sure that Jake has a chance encounter with Marisa Fontes, Joaquim’s daughter. She’s not only sure her father is alive, but also just happens to have memorized the stolen map. There remains one major problem—the land where the mine is located is owned by Sen. Alfonso Fonseca, a candidate for the Brazilian presidency.
The first half of this relatively short novel—barely more than 200 pages—is a gripping tale of underworld crime and desperate aspiration; Jake is effectively shown to be willing to risk everything for his big shot at real wealth. His dream is a shallow, materialistic one, but its conflict with Marisa’s emotional longing to find her father seems to open him up to the possibility of new and redemptive depth, which Brewer artfully and sensitively depicts in these pages. Also, the author vividly describes the formidable wetlands of the Brazilian interior, getting across its compelling combination of lush beauty and peril. Indeed, for the most part, this is a torridly paced thriller overflowing with sharply described action. However, the more the plot pivots to a political conspiracy involving Sen. Fonseca and the world of illicit drug trafficking, the more fantastical and unbelievable it becomes. Moreover, the picture of Brazil’s corrupt political scene lacks nuance and reduces it to a bland version of oligarchic corruption: “Only an idiot would vote for the bastard or anybody else in his coalition if they bothered to follow their legislative voting record, but nobody does. Politics don’t work that way here….Elections are won with free T-shirts, free beer, dances, and lots and lots of money.”
An often engaging novel that’s undermined by its turn toward grandiose political machinations.Pub Date: April 14, 2021
ISBN: 978-1-95-534711-2
Page Count: 222
Publisher: Goldtouch Press, LLC
Review Posted Online: Aug. 27, 2021
Review Program: Kirkus Indie
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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