An uneven portrait of a marriage that relives the early days of the Covid pandemic without offering fresh insight.
A struggling couple flees New York with their two daughters in the spring of 2020.
Pete and Alice leave New York for their vacation home in Maine at the start of the Covid-19 pandemic. Pete is in finance, while Alice is a playwright whose creative work—much to her chagrin—has become eclipsed by her role as stay-at-home mom. They abscond to their summer home both to escape the chaos and death that surround them in the city and to get some distance from “the Her,” a thinly sketched woman with whom Pete has been having a yearslong affair. What Pete and Alice fail to consider is the disdain with which they will be received by the terrified Maine locals, who, protective of their community, threaten and harass the New Yorkers. The summer home that has been a respite in years past transforms into something bleak, unwelcoming, and foreign. The novel tracks nearly a year with chapters told from various perspectives—Alice narrates most of the book, while occasional third-person chapters focus on Pete and tween daughters Iris and Sophie. Much of the book is concerned with the minutiae of pandemic life—for example, Pete’s search for reliable Wi-Fi and Alice’s rationing of toilet paper and food. Sprinkled throughout are flashbacks to earlier periods in Pete and Alice’s relationship that illuminate how the two met and fell in love as well as how their marriage began to strain under the weight of children, Alice’s frustrated creative ambitions, and Pete’s extramarital affair. In Maine, the two struggle to reconcile in the wake of Pete’s betrayal while also attempting to imagine a way forward as a family—whether in Maine or New York. Readers may struggle to connect with Alice, who lacks agency and seems more invested in the ennui of her upper-class existence than in the world around her or her supposed creative goals. Clichés abound, from buttoned-up WASPs to characters spontaneously throwing up when emotional.
An uneven portrait of a marriage that relives the early days of the Covid pandemic without offering fresh insight.Pub Date: July 4, 2023
ISBN: 9780063242661
Page Count: 256
Publisher: Harper/HarperCollins
Review Posted Online: May 9, 2023
Kirkus Reviews Issue: June 1, 2023
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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