An ambitious if uneven debut exploring the possibilities of love, self-realization, and art under and beyond the White gaze.
Saddled with the name of his “father's favorite writer” by his colonial-throwback Jamaican parents, aspiring author Kipling Starling is desperate to be published and will do seemingly anything to realize his dream.
Encouraged in writing by his schoolteachers and believing himself “useless at anything but,” Kip built his personality from the expectations and literary opinions of others and the blueprint for his future from those he saw as his predecessors, assimilating Dostoevsky’s style by repeatedly rereading Crime and Punishment and leaving his family in London for New York because fellow “skinny gay black” writer James Baldwin had found success in America. More than recognition of his work or talent, Kip seems to crave the legitimization that acceptance from the predominantly White world of publishing would signify, as he “flounder[s] in the wake of a peculiar invention called Whiteness.” Having been kicked out of his MFA program and despairing over a spate of rejections for his historical novel about E.M. Forster’s relationship with Egyptian tram conductor Mohammed El Adl, Kip receives an inexplicable invitation to meet with a “publishing legend” who was among his rejectors. In the meeting, she implies that a rewrite from Mohammed's perspective might entice her, but there's a catch: In four weeks' time, “a commercial media conglomerate” will acquire the publisher, and the editor expresses nebulous doubts that she will be allowed to continue acquiring literary fiction after the merger is complete. Thus Kip is launched on a frenzied three-week rewrite quest, and he barricades himself in the basement of the Brooklyn brownstone he shares with his well-intentioned but oblivious White psychotherapist husband, Ben. As boundaries between Mohammed and Kip in his isolation begin to dissolve and a mysterious entity appears, Kip is propelled into a still larger quest to find his “true voice” in a wilderness beyond the confines of Whiteness itself. Though the result is an overplotted and lopsided narrative with a sometimes-tedious start crawling toward a rushed ending, the book still shines at times in the elegance of its prose and its depictions of a stark arctic landscape and in Kip’s musings through Mohammed’s story on the intersections of colonialism, White supremacy, and queer love, particularly the liberatory potentialities of queer love between Black men.
An ambitious if uneven debut exploring the possibilities of love, self-realization, and art under and beyond the White gaze.Pub Date: June 7, 2022
ISBN: 978-0-06-315955-6
Page Count: 336
Publisher: Amistad/HarperCollins
Review Posted Online: May 10, 2022
Kirkus Reviews Issue: June 1, 2022
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
A vibrant tale of a remarkable woman.
Who was Shakespeare?
Move over, Earl of Oxford and Francis Bacon: There’s another contender for the true author of plays attributed to the bard of Stratford—Emilia Bassano, a clever, outspoken, educated woman who takes center stage in Picoult’s spirited novel. Of Italian heritage, from a family of court musicians, Emilia was a hidden Jew and the courtesan of a much older nobleman who vetted plays to be performed for Queen Elizabeth. She was well traveled—unlike Shakespeare, she visited Italy and Denmark, where, Picoult imagines, she may have met Rosencrantz and Guildenstern—and was familiar with court intrigue and English law. “Every gap in Shakespeare’s life or knowledge that has had to be explained away by scholars, she somehow fills,” Picoult writes. Encouraged by her lover, Emilia wrote plays and poetry, but 16th-century England was not ready for a female writer. Picoult interweaves Emilia’s story with that of her descendant Melina Green, an aspiring playwright, who encounters the same sexist barriers to making herself heard that Emilia faced. In alternating chapters, Picoult follows Melina’s frustrated efforts to get a play produced—a play about Emilia, who Melina is certain sold her work to Shakespeare. Melina’s play, By Any Other Name, “wasn’t meant to be a fiction; it was meant to be the resurrection of an erasure.” Picoult creates a richly detailed portrait of daily life in Elizabethan England, from sumptuous castles to seedy hovels. Melina’s story is less vivid: Where Emilia found support from the witty Christopher Marlowe, Melina has a fashion-loving gay roommate; where Emilia faces the ravages of repeated outbreaks of plague, for Melina, Covid-19 occurs largely offstage; where Emilia has a passionate affair with the adoring Earl of Southampton, Melina’s lover is an awkward New York Times theater critic. It’s Emilia’s story, and Picoult lovingly brings her to life.
A vibrant tale of a remarkable woman.Pub Date: Aug. 20, 2024
ISBN: 9780593497210
Page Count: 544
Publisher: Ballantine
Review Posted Online: June 15, 2024
Kirkus Reviews Issue: July 15, 2024
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
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