Absolutely stunning.
A collection of narratives focusing on the dark side of Veracruz.
“To live in a city is to live among stories,” Mexican author Melchor writes in her latest book to be translated into English. But what does she mean by stories? The accounts in the collection—“relatos,” she calls them, or “tales”—are based on real events, she writes, but “have no journalistic claims because they don’t include accurate dates, hard facts or car registration plates…but nor can they be called realist fiction.” Whatever they’re called, they’re extraordinary, each one a portrait of life in Veracruz in the past decades. In “Queen, Slave, Woman,” Melchor tells the story of Evangelina Tejera Bosada, a former queen of Veracruz’s annual Carnival who bludgeoned her sons to death, dismembered them, and placed the remains in a pot on her balcony. Melchor’s observations about the case are fascinating; she writes about the dissonance between Tejera Bosada’s former image as a beloved Carnival queen and her image after the slayings as a coldblooded killer: “Opposing yet complementary archetypes, masks that dehumanize flesh and blood women and become blank screens on which to project the desires, fears, and anxieties of a society that professes to be an enclave of tropical sensualism but deep down is profoundly conservative, classist, and misogynist.” In “The House on El Estero,” Melchor recounts a story told to her by a former partner who visited a supposedly haunted house years before and claims to have come face to face with the devil. Her ex’s story itself is indeed terrifying, but Melchor turns it into a fascinating reflection on the nature of narrative itself. The collection closes with “Veracruz With a Zee for Zeta,” a wrenching story, told in the second person, about the experience of a person who witnesses violence connected to the Los Zetas cartel. The last two paragraphs are a gut punch, some of the most wrenching prose to come around in years. Skillfully translated by Hughes, this is a book that’s as gorgeous as it is dark, and it proves that Melchor is one of the finest writers working today.
Absolutely stunning.Pub Date: April 4, 2023
ISBN: 9780811228053
Page Count: 160
Publisher: New Directions
Review Posted Online: March 13, 2023
Kirkus Reviews Issue: April 1, 2023
BOOK REVIEW
BOOK REVIEW
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
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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