A beautiful meditation on the profound effects of seeing and being seen.
O’Connor’s debut novel is set in 1938 on a remote island off the coast of Wales and centers Manod, an 18-year-old who has lived there her entire life.
With her fisherman father, Tad, offbeat younger sister, Llinos, and beloved dog, Elis, Manod battles the elements on the rocky outcrop to survive. Following the untimely death of their mother years prior, she feels responsible for Llinos’ upbringing. O’Connor is careful not to romanticize the island, depicting the harsh living conditions in graphic prose: “The wind makes red meat of us.” Alongside the news of increased political tension in Europe, a beached whale captivates the small, tightknit community, which is becoming increasingly conscious of its isolation. That so many families have abandoned the island for the mainland, leaving “more empty houses on the island than inhabited ones,” increases that sense of dislocation. When English ethnographers Edward and Joan arrive to document the islanders’ way of life, they enlist Manod to provide her unique insight into the project, and she begins to wonder if an academic career might provide an escape preferable to marriage. This renewed sense of possibility and appreciation for her home—“I had never looked closely at the island. I had never thought it was interesting, or beautiful”—coincides with a sensual awakening. Where her sexuality before the arrival of the scholars might appear modern—she has sex with a local boy without shame—it’s strikingly passive: “saying yes to him, kissing him, other things, made me feel slightly less peculiar than I did.” Appraising the island and herself through an outsider’s gaze seems to awaken Manod’s senses, making her acutely aware of her body and desire. As the academics set about documenting the traditions, folklores, and lifestyles of the islanders, Manod’s sense of otherness increases—with the pair exoticizing the islanders to such a degree that their research is utterly compromised. O’Connor prompts us to consider what it is to experience ourselves—and our cultures—through strangers’ eyes.
A beautiful meditation on the profound effects of seeing and being seen.Pub Date: May 7, 2024
ISBN: 9780593700914
Page Count: 224
Publisher: Pantheon
Review Posted Online: Feb. 17, 2024
Kirkus Reviews Issue: March 15, 2024
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
Mostly charming, sometimes twee, with some really lovely things to say about poetry.
And now for some lessons in poetry and typesetting.
After Lessons in Chemistry (2022), a debut that became one of the most popular books of recent years, Garmus applies her unique comic sensibility to the story of Batter Gray, a man named after a family dog of mythic talents. A poetry maven who was reading Auden as a fourth grader, he was raised by a type-designer mother and historian father who dearly hoped he would choose some more viable profession than poetry. But via an amazing stroke of luck, he lands a job after college at Peck & Peck, an illustrious literary journal located in a beautiful building in New York City. He’s at the very bottom of the complex and dysfunctional totem pole, making copies in the basement, struggling not to run afoul of the cantankerous editor-in-chief, Salton Peck, or his smarmy assistant, Dexter York, both of whom have taken an instant dislike to our hero (and can never get his name right. Few people can). And to be honest, Batter is not without his flaws. The novel bogs down a bit in the middle, with Salton constantly excoriating his staff in ALL CAPS and much ado over the possibility that submissions have been taken outside the building, which is forbidden. Along the way, many, many famous poets are name-checked, as are many typefaces, since Batter has been raised to instantly identify a font in the wild. The best example of this occurs during his brief sojourn in jail: “The thing I kind of admired about Motherfucker II, besides his manners, was this huge tattoo he had on his neck that read I will fuck you up in ITC Bolt. Call me my mother’s son, but whoever inked it nailed the kerning.” The narrative picks up steam toward the end, as bad guys become good guys, mysteries are solved, and Batter throws one hell of a party.
Mostly charming, sometimes twee, with some really lovely things to say about poetry.Pub Date: Oct. 13, 2026
ISBN: 9781668251065
Page Count: 432
Publisher: Scribner
Review Posted Online: July 6, 2026
Kirkus Reviews Issue: Aug. 1, 2026
BOOK REVIEW
PERSPECTIVES
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