by Dug Brown dug brown ‧ RELEASE DATE: N/A
This dark comedy effectively lampoons unscrupulous reality-show creators and their hungry audiences.
In Brown’s debut satirical novel, a low-rent web series host becomes a faith healer.
Bruiser hosts the popular Atlanta-based internet game show “Greed.” He and a small crew run around the city to find people willing to undertake risqué dares for cash. Most of these dares involve sexual acts or activities that would repulse many of the captivated viewers, such as contestants’ licking unappealing items. When Bruiser himself takes part in the game, it ends with a slap to his face that knocks him out for two days. When he awakens, he feels different, starting with his apparent ability to hear others’ thoughts. And there’s more: When he slaps someone (which he does on “Greed” when contestants fail to complete dares), he astonishingly heals such ailments as cancer and cerebral palsy. Predictably, his boss sees nothing but dollar signs and offers Bruiser an entirely new series based on this phenomenon. People flock to Bruiser as if he were an evangelist, and he, with cameras rolling, moves from person to person, healing each one. Unfortunately, this ability has its downsides—those craving his healing slap practically mob him. There are also the shadows, which only Bruiser sees, that escape a body every time he heals someone; his healing light may very well be inviting more darkness into the world.
Ultra-black humor permeates this story. Much of what Bruiser pays “Greed” contestants to do is distasteful and clearly only done for money. He likewise revels, at least initially, in such excesses as cocaine and alcohol. The author offsets these acts with a gleeful lexicon of slang for sex, drugs, and body parts, referring to contestants who “plowed the field” and an individual’s very intimate “sand trap.” The text is loaded with banter between Bruiser and his personable crew, including longtime friend/producer Dick, cameraman Less, and Less’ twin sister, Leslie, the production’s editor. While character development is nominal, readers eventually get pieces of Bruiser’s backstory: He, for whatever reason, doesn’t have the best relationship with his mother and rejects his birth name, as it’s his father’s. His sister provides further mystery, as she did something in the past to incense the FBI and now seems to be missing. Brown deepens Bruiser’s mysterious ability with surreal turns: Bruiser experiences vivid dreams of otherworldly landscapes that appear safer than the real world, and there are instances when it’s not so easy, for Bruiser or readers, to distinguish reality from his dreams (“The wall glitches, returning to space, and looking to fill an empty space in his mind, he asks, ‘What happened after that?’ There’s another glitch and the wall returns to just being a wall. He closes his eyes and breathes in, thinking, ‘Maybe if I fall asleep here, I’ll wake up there’ ”). The final act takes an unexpected direction, primarily to offer some kind of explanation regarding the healing ability. It’s a truly bizarre development, as it introduces new characters, more violence, and a tie to someone in Bruiser’s past. At the same time, it fits right in line with the overall narrative and pays off with a worthy open ending.
This dark comedy effectively lampoons unscrupulous reality-show creators and their hungry audiences.Pub Date: N/A
ISBN: N/A
Page Count: 352
Publisher: Manuscript
Review Posted Online: May 24, 2023
Review Program: Kirkus Indie
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by Kathryn Stockett ‧ RELEASE DATE: May 5, 2026
Fans of Stockett’s bestselling debut will love this engaging follow-up.
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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
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by Ann Patchett ‧ RELEASE DATE: June 2, 2026
An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.
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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
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