Clever storytelling with an over-the-top protagonist.
A frustrated young man mulls his many mistakes.
In New Jersey in 2000, Tony Mazza (like matzah, only not, ha ha) stumbles out of a courtroom, wondering where he’s gone wrong in his life, and his narrative provides a thousand answers ranging from funny to sad. He relates his life in reverse: 2000 becomes 1994, then 1991 and so on, going back to his birth, which Mom fills him in on. Tony can’t keep even an entry-level job, as reporting to work on time at IHOP is a nagging issue. Surrounded by bad influences like his father and his lifelong friend Sandy Quade, he screws up by the numbers but only blames himself: “Where did I go wrong?” he asks himself over and over. In 1990, “the unemployment rate’s low enough for you to step over,” and yet he’s “thirty-one, divorced and jobless.” Loser isn’t tattooed on his forehead, although readers may wonder why not. Along the way, he peppers his narrative with lame jokes. “I know a bunch of jokes about being unemployed. But none of them work. Ha ha ha.” At times it feels like Tony has memorized his childhood joke book and wants to share every damned gag. (One or two fewer groaners would’ve been nice.) But then lines like this more than compensate: “That voice, sweet with an edge, is like orange juice left out too long.” Typical Tony: He makes a date with a girl and then forgets to show up. In high school he’s casual about punctuality, arriving at “Ms. Rosen’s Western Civ. class in time to be fifteen minutes late.” He could be a decent student—for example, his comments in English class about Holden Caulfield in Catcher in the Rye are perceptive: “It’s what Salinger thinks a rebel kid should be.” And yet a quiet tragedy lurks in the background of the Mazza family’s lives. Tony’s younger sister, Angela, has been missing for two decades, and all hope of finding her is lost. When the story circles back to 2000 no one is looking for her anymore, and Tony faces possible jail time on a low-level drug charge. One thread leads to a shock, the other to a glimmer of hope.
Clever storytelling with an over-the-top protagonist.Pub Date: May 6, 2025
ISBN: 9781646035861
Page Count: 248
Publisher: Regal House Publishing
Review Posted Online: April 4, 2025
Kirkus Reviews Issue: May 1, 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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