A smart, funny, and sneakily terrifying version of the way we live now. (Do not read without working air conditioning.)
In the throes of a sanity-destroying summer, a Toronto woman explores a dangerous new hobby.
It’s not just hot, it’s an “end-of-days climate that increasingly resembled an Old Testament Hell.” In fact, thinks Beatrice Billings, “It could rain frogs now and humanity would take it in stride….Oh, it’s always rained frogs....She knew our Saviour had thrown in the towel and gone back to His golf game, and knew that mankind deserved to be punished. Certainly Bea deserved it.” Why does Bea, a 49-year-old Toronto art dealer with a son in college and a shaky marriage, think she deserves punishment? It begins on just another day she’s stuck in her empty gallery feeling lonely, bored, stressed out, and claustrophobic. She Googles “escape.” One video later, she’s sending away for a lock-picking kit. Not long after, she joins a lock-picking club; turns out, she’s very good at it. Next thing she knows, she's trailing a woman who’s just paid cash for a $1,500 dress. She returns to the woman’s home the next day, gets in fairly easily, and leaves with a rich store of knowledge about the lives of this woman and her husband—and also the dress. It doesn’t stop there for Bea, though after the first time, stealing isn’t part of the routine. She does tend to leave marks of her uninvited visits, at one house typing a Descartes joke into a crappy philosophy manuscript and, at another, phoning in a tip to a suicide hotline. Gillmor does an impressive job of keeping Bea not just sympathetic but even normal-seeming as this outlandish summer progresses. She does all she can for her mother, who’s in memory care; she’s patient with her annoying sister, who has lots of opinions while not contributing at all; she misses her son, whose presence in her life has been reduced to infrequent texts, not to mention her husband, who’s drifted as far from her as she has from him. As for breaking and entering? The genius of this book is to capture the exact way a familiar world of aging parents and divorcing friends and nice charcuterie platters could go right around the bend. Oh, you know, it’s always rained frogs.
A smart, funny, and sneakily terrifying version of the way we live now. (Do not read without working air conditioning.)Pub Date: Aug. 15, 2023
ISBN: 9781771965231
Page Count: 240
Publisher: Biblioasis
Review Posted Online: Aug. 10, 2023
Kirkus Reviews Issue: Sept. 1, 2023
BOOK REVIEW
PERSPECTIVES
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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