Emotionally rich and quietly thought-provoking, this is simply a stunning fiction debut.
A timely coming-of-age story about art and love from the author of The Third Rainbow Girl (2020).
This novel begins with a middle-aged photographer describing a lengthy bout of depression and isolation with oblique—but very telling—references to how the death of her “housemate” factored into her sense of despair. When she finally reemerges, she encounters “two white kids” in a coffee shop and follows them home. Then this unnamed observer disappears—for a while—as she tells the story of Bernie (who “looked like a thin girl”) and Leah (who “looked like a fat boy”). Within a handful of pages, Eisenberg establishes her novel’s central themes and the context in which this narrative is taking place. The physical setting is Philadelphia, although Leah and Bernie will embark on a road trip that takes them through central Pennsylvania—a place that is very much itself while also serving as synecdoche for flyover America. The 2016 presidential election and the Covid-19 pandemic offer temporal touchstones. Shifting mores around sexuality and gender, the complicated demands of social justice movements, how we deal with bad people who create good art, and the difference between recording and actually seeing are just some of the topics Eisenberg lays out before setting her Gen Z protagonists loose to explore them. Bernie and Leah meet when Bernie answers an ad that begins “Four Swarthmore grads, looking for a fifth housemate” and ends with “Queer preferred (we all are).” There are also mentions of proactive communication and a chore wheel. In this household, Bernie is an outsider, someone who is not attuned to—and not at all invested in—this kind of intentional living, and Bernie’s difference changes Leah. Eisenberg works through the issues she sets before the reader at the beginning of her novel with love and nuance. Or maybe it’s better to say that she lets her main characters fumble along in a world in which these issues matter. If that sounds pedantic or prescriptive, it’s not. Eisenberg has a poet’s eye for truth, and her prose is gorgeously precise and empathetic while remaining cleareyed.
Emotionally rich and quietly thought-provoking, this is simply a stunning fiction debut.Pub Date: May 28, 2024
ISBN: 9780593242230
Page Count: 352
Publisher: Hogarth
Review Posted Online: Jan. 20, 2024
Kirkus Reviews Issue: Feb. 15, 2024
BOOK REVIEW
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
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
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
