A lyrical, exquisitely detailed account of one woman’s inner and outer worlds.
Quietly, painstakingly, a woman begins to care for a horse.
“Horses had moved into my consciousness slowly and then quickly, gathering pace and rhythm and volume,” says the narrator of Haworth-Booth’s first novel for adults. Like her author, the narrator writes children’s books and, from her home in a sleepy part of England, teaches writing online. She’s married but her husband, also unnamed, plays little role here. At first that seems counterintuitive, since the narrator’s central struggle—whether or not to have children—would very much seem to involve him. But Haworth-Booth’s focus isn’t on a couple’s shared decision; it’s on women’s bodies and women’s choices and what happens when what we thought was a choice is suddenly circumscribed. For many reasons—climate change and environmental catastrophe not least among them—the narrator has long thought she didn’t want to have children. As the book progresses, she finds out that, in any case, she can’t. Her body undergoes mysterious changes; there are doctor visits, estrogen patches and creams. Does womanhood hinge on the ability to give birth? If the book were content with questions like these it would be on rich enough ground, but Haworth-Booth complicates things infinitely—and exquisitely—by marching horses into the mix. The narrator becomes a “sharer” in a horse’s care: Several days a week, she feeds, brushes, and rides the horse who is, for all intents and purposes—and for a fee—hers on those specific days. Lest you suspect Haworth-Booth of facile comparisons, the horse is not a surrogate for a child. “I didn’t know how to describe who the horse and I were to each other…” the narrator says, mystified herself. “What is between the horse and me is inexpressible but not insignificant.” Haworth-Booth’s book is a marvelous exploration of what it means to be a woman, to live in a woman’s body, to contemplate motherhood—and it is equally about the relationships between people and animals, women and girls and horses. Every step of the way, she resists easy answers.
A lyrical, exquisitely detailed account of one woman’s inner and outer worlds.Pub Date: May 19, 2026
ISBN: 9780374617707
Page Count: 288
Publisher: Farrar, Straus and Giroux
Review Posted Online: March 9, 2026
Kirkus Reviews Issue: April 1, 2026
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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