An intimate exploration of the unknown territory of desire, destruction, and whatever falls in between.
A young woman’s twin impulses toward sex and death merge into a duty to life in this lush English-translation debut.
The narrator of this lithe, prismatic book is unapologetic about her frank lesbian sexuality. She is a lover, an ardent explorer of the sensual, a student of bodies—including her own—who remains uninterested in the empty moralizing of middle-class values. Born in Barcelona to a family with a deeply neurotic mother, a distant father, and a younger sister interested in fulfilling all the gender norms of womanhood, the narrator struggles not with her sexual orientation but rather with the essential absurdity of a life lived in search of speciously defined material success. Convinced by her mother to get a degree in art history, rather than pursue the urge to create, the narrator spends her post-degree years immersed in books, which she understands as a sort of pleasurable abnegation of the self. She also travels, first leaving Barcelona for a stint as a Spanish tutor in Brussels, where she meets the incomparable Veronika, whose “thick, silken hair...remind[s her] of the surreal bundles of fiber optics that a technician had once threaded through the façade of [her] Barcelona apartment”; spending a brief time as an au pair in Scotland, where she feels that the “anomalous, flat and rich” green of the Scottish landscape “rises like a suffocating tide, floods every cavity, and colonizes the most fertile parts of my ego”; and returning home to Barcelona to eventually settle into work writing articles for a publication that makes her feel “colorless—a dreadful muddle of various hues, an unthinkably grim and grayish green.” Throughout, the narrator is obsessed not only with the physicality of her lovers and the pleasure she finds in their bodies, but also with the solace she perceives in thoughts of death. She has multiple near suicide attempts which are unconsummated not due to a lack of seriousness but rather due to external factors. The narrator seems likely to continue on this way, drifting between lovers and suicide attempts in a lucid swoon of sensation, were it not for the sudden illness of her 6-year old niece, Clàudia, which thrusts her into the unanticipated experience of wonder and reciprocal trust. Prior to this novel, Baltasar published 10 books of poetry in her native Catalan, and her poet’s sense of language as musculature—a body in its own right—flexes in every line of the carefully translated prose.
An intimate exploration of the unknown territory of desire, destruction, and whatever falls in between.Pub Date: April 6, 2021
ISBN: 978-1-91150-875-5
Page Count: 128
Publisher: And Other Stories
Review Posted Online: March 2, 2021
Kirkus Reviews Issue: March 15, 2021
PERSPECTIVES
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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