These brilliant stories exist in the space between desire and complication.
There’s nothing quite like a David Means story.
Jangly, elliptical, apparently autobiographical in some sense (but maybe not), his work functions like a series of Russian nesting dolls, one layer leading inexorably to the next. The 10 pieces in his sixth collection—he is also the author of the novel Hystopia (2016)—begin with small scenes, anecdotal encounters: the hospital workers in the title story, “somewhat lonely-looking figures, taking a smoke break, back behind a trailer, leaning toward each other as they talked softly beside a row of neatly trimmed bushes”; the man in the grief encounter group “who lost his teenage daughter two years ago, chasing after a Frisbee into the road.” Means is a genius of the fragment: Some of the narratives here include subtitled sections, a strategy that recalls “Two Ruminations on a Homeless Brother,” which appeared in Instructions for a Funeral (2019). But even those that don’t work this way build their effects incrementally, moving back and forth from the action to the reflective eye of the narrator, who bears a striking resemblance to the author himself. Means makes this clear from the opening story, “Clementine, Carmelita, Dog,” which he narrates from the perspective of a canine even as he acknowledges the challenges of doing so. “I wish I could make words be dog,” he writes, “…find the way to inhabit the true dynamic, to imagine a world not defined by notions of power, or morality, or memory, or sentiment, but instead by pure instinct.” What he’s addressing are the limitations of literature as well as its possibilities. This conundrum sits at the center of this remarkable set of stories, which seek to destabilize the illusions of fiction even as they embrace and heighten them. How does he do it? Let’s call it presence, both that of the characters and of the writer, whose language lives and grows by such an interplay. "Do your best to be as specific as possible while also bending around the truth so as to protect the living,” he implores in “The Depletion Prompts.”
These brilliant stories exist in the space between desire and complication.Pub Date: Sept. 13, 2022
ISBN: 978-0-374-60608-4
Page Count: 224
Publisher: Farrar, Straus and Giroux
Review Posted Online: July 12, 2022
Kirkus Reviews Issue: Aug. 1, 2022
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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