A richly textured and deeply felt tale of life and tragedy turned into art.
A graduate student descends into madness while contemplating the relationship between the celebrated novelist James Joyce and his daughter in this labyrinthine literary mystery.
Lombardi’s novel centers on a woman who lands in a Baltimore mental hospital in 1993, where she responds to questions with enigmatic quotations from Shakespeare, T.S. Eliot, Virginia Woolf, and Joyce. She is diagnosed with schizophrenia and identified as Molly O’Donnell, a graduate student at Johns Hopkins University—hence the compulsive literary allusions—and the daughter of deceased Joyce scholar Will O’Donnell. Family, friends, and staffers try to coax her out of her psychosis but with little success. When she’s not in a medicated stupor, she’s acting out by starting fires or trying to seduce a male nurse. Interspersed with Molly’s travails in the psych ward are diary entries she wrote before her psychotic break. These cover her affairs with a married professor and a concert violinist; her vexed relationships with her alcoholic mother, domineering brother, and fragile sister; and her dissertation on the similarities between Joyce’s famously incoherent novel Finnegans Wake and the language used by schizophrenics. Her research zeroes in on Joyce’s daughter, Lucia, a schizophrenic whose symptoms mirror those Molly will display in the hospital. She theorizes that the woman’s disjointed utterances inspired Finnegans Wake and starts seeing apparitions of a derelict Lucia. Molly eventually plunges into sinister conjectures about Joyce’s relationship with his daughter, which start to color her memories of Will. Lombardi’s sprawling novel is an intense, well-observed portrait of a psychiatric patient and the obsessions that slowly undermine her sanity; an engrossing picture of literary sleuthing; a cri de coeur against intimate predations; and a moving depiction of a family torn by ugly secrets. The author’s prose has a vivid immediacy, whether she’s registering intense emotion—“How can you breathe when your lungs keep collapsing on you, like the emphysema of some five-pack-a-day smoker?” wonders Molly after a lover blithely dumps her—or a reflective lyricism. (A patient “walked alongside Molly, speaking softly to her; as they passed under the weeping willow trees Molly’s face was childlike, upturned, her slow movements for once acquiring something resembling grace.”) The result is a very Joycean exploration of a troubled psyche revealed in evocative prose.
A richly textured and deeply felt tale of life and tragedy turned into art.Pub Date: Dec. 14, 2022
ISBN: 9781736244470
Page Count: 508
Publisher: Mumblers Press LLC
Review Posted Online: Dec. 19, 2022
Kirkus Reviews Issue: Feb. 15, 2023
Review Program: Kirkus Indie
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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