A deeply realized tale of the power of music and the anonymity of history.
In Hamlin’s debut novel, a modern music lover attempts to unlock the secrets of a 101-year-old recording.
In 2018 Chicago, classical music producer Ben Weil usually works with live musicians, but he’s just been offered an unusual, posthumous collaboration: to identify and master a long-lost sonata recorded just over a century ago on five wax cylinders and recently uncovered in the storage room of a Maine antique shop. The sonata’s author is unknown, and the pianist is listed only as J Garnier. The work is unlike anything Ben has ever heard: “The music is boundlessly curious, eager to trespass and transgress and build anew. Even today it would be considered avant-garde—how could it possibly be a century old? And the unknown player is a virtuoso by any measure. Every second of the recording beguiles.” Still reeling from the recent end of his marriage, Ben throws himself wholly into the mystery, attempting to decipher the secrets of its music and the identity of its brilliant composer. Ben’s story alternates with another that’s set in Boston in 1915, featuring French-born Elisabeth Garnier, who has training as a social worker but is currently working as a saleswoman for the Bell Company, using her charisma and European sophistication to peddle Imperial Graphophones to the wealthiest households of Boston. Her assignment takes her into the home of the Sanborns, a coffee-industry dynasty with a taste for music—an association that changes her life forever. When Ben accidentally shares the sonata with other influential members of the classical music community, allowing them to imagine that he is the composer, he risks turning a historical mystery into a contemporary scandal.
Over the course of this novel, Hamlin’s rich prose is as deft and precise as the skills of his characters, imbuing the descriptions of music with beauty and drama. For example, when a pianist friend plays the sonata, Ben “wonders what she’s thinking, how her musical mind, with its encyclopedic grasp of the twentieth-century piano repertoire, is analyzing it. But then she moves into the short minor phrase and lands on the first of the suspended chords, her articulation confident, her touch sublime.” There’s a depth of expertise on display in this novel—not only regarding musical theory and history, but also the recording equipment of different eras. Some of the most intriguing passages in the book relate to the wax cylinders, an instance of a fragile technology that contains some of the most impressive analog craftsmanship of the early 20th century. The novel is perhaps 50 pages too long, and the story builds to a conclusion that is perhaps a bit cuter—and certainly more incredible—than it needs to be. Still, by that point, readers will have bought into the tale and be willing to follow it wherever it goes. Classical music fans, in particular, will enjoy this immersive story in which art, technology, and class pressures coalesce to create a timeless work of art.
A deeply realized tale of the power of music and the anonymity of history.Pub Date: April 2, 2024
ISBN: 9781963101003
Page Count: 422
Publisher: Green City Books
Review Posted Online: Sept. 30, 2024
Kirkus Reviews Issue: Dec. 15, 2024
Review Program: Kirkus Indie
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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