An often affecting, if slightly uneven, novel of familial adversity.
To prevent their marriage from collapsing, a husband and wife must make peace with their respective pasts in this debut literary novel.
Rob, a former professional paddleboarder, lives with his wife, Laura, and three children in his parents’ house while running a floundering bar. He remains haunted by his role in the accidental death of his best friend’s sister, Sandra. While out walking with Laura, he sees his old friend, Andre, paddleboarding, which revives his guilt over Andre’s arrest for his sister’s death, and his two-and-a-half year imprisonment for manslaughter. Laura, who senses Rob drawing away from her, runs a small bakery stand to help make ends meet; when she finds an injured cardinal on the street, she looks at her son, Nate, who’s still recovering from the effects of a car wreck: “Now, observing him in his wheelchair, she saw a boy broken like the cardinal that crashed into the window….What could she do about the bird, her son, or anything?” As this summary indicates, Crabb achieves a notable level of psychological realism by revealing her characters’ pasts via a series of emotional triggers. She also gives a highly visual sense of place to the characters’ hometown of Sanctuary, Michigan: “Still, there was no avoiding the glare of the midday sun blazing down…so much so that the village antique store appeared to squint.” In some instances, however, the author’s attention to detail works against the story; a chapter depicting Laura taking Nate to physical therapy, for example, starts off with a weather-based simile (“The wind shook the leaves from the trees that lined the cement path to the front door....The cold air was raw as her emotions”), but then delves into recording the characters’ every single word and gesture for several pages, which feels excessive: “Dr. Azzi…extended his hand to her. ‘Nice to see you again.’ Laura shook his hand before he and Nate exchanged knuckles. ‘How are you doing, young man?’ ” A judicious trimming of such passages would have enhanced some of the more meaningful scenes.
An often affecting, if slightly uneven, novel of familial adversity.Pub Date: Oct. 2, 2019
ISBN: 978-1-95-121456-2
Page Count: 382
Publisher: Adelaide Books
Review Posted Online: June 24, 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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