Could use more polish, but this bright writer is leading the way into an exciting future for queer literature.
Tender, incisive portraits of trans womanhood, the ties that bind women to one another, and the complex relationships of youth.
Simultaneously aligned with queer coming-of-age story collections of previous generations and dexterously subverting and revitalizing the genre, these seven stories offer a glimpse into the future of queer literature. They capture Gen Z’s best traits: intuitiveness and self-assurance. The characters are candid and more self-aware than previous generations, but focused on the normal concerns of youth: relationships, sex, work, and how to be a person in the world. The dialogue feels natural and brings each character to life. In "Means to an End," 20-year-old Leonora has dropped out of NYU and is “the fourth tenant of the lesbian love triangle apartment.” Her roommates’ constant conflict creates a fraught living environment that frames her own low-frequency internal instability as she grows into herself and tries to figure out how to live life on her own terms. Relying on the emotional growth of the characters for propulsion, Zhou scatters her text with poetic gestures that hint at resolution but leave the characters’ preoccupations ultimately unresolved. For example, thinking about a tense conversation the night before with a woman she had feelings for, Leonora describes the apartment in detail and notes that “the light was turning soft and forgiving.” Then she does the dishes that had caused tension among her roommates the night before: “At the end of the dishes, there was an empty sink. I watched the water run down the drain for a moment.” These images suggest that, while the messiness of her life and her relationship with the woman is tidied up for now, a sense of emptiness remains; the character conveys her emotions without directly saying how she feels. The final story, “Gap Year,” documents the narrator’s life in a series of dated fragments that conclude with an insight that feels true to the protagonists of all the other stories: “Maybe what I was trying to capture in these pages was your sense of purpose, the way you seemed to cut a straight, clear path through the world….[Sometimes you] would make me feel like everything extraneous had fallen away and I lived suddenly in a clean, clear reality that seemed navigable.”
Could use more polish, but this bright writer is leading the way into an exciting future for queer literature.Pub Date: Oct. 17, 2023
ISBN: 9781736716847
Page Count: 180
Publisher: LittlePuss Press
Review Posted Online: Aug. 26, 2023
Kirkus Reviews Issue: Sept. 15, 2023
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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