Eye-glazing esoterica notwithstanding, this dreamy, erotic “memoir” is a smart, sexy affair.
Tracy St. Cyr is a 40-something semifamous rock musician whose memoir focuses on two distinct periods, 1993 and 2019, excavating the trauma of relationships and transitions—first girlfriend to worst girlfriend, aspiring artist to legit indie star, passive adolescent to riotous trans girl.
Lead singer and guitarist of Static Saints, Tracy has divided her two personal epochs into Sides A and B, locating her firmly on a wry, lo-fi, then-and-now Gen X axis where reality can bite. Or as she says, “I felt like a hot aging punk dyke and realized that maybe I was a hot aging punk dyke.” Side A has an un-deadnamed Tracy chronicling first love and loss with Astrid while living in an unnamed city, alone until falling in with a dazzling coven of trans artists. In Side B she’s back in the same city, alone again and recovering from a devastating relationship with suicidal butch barkeep Johnny. And the transformations she once again finds here are restorative, generative, and very, very hot. As Tracy slips seamlessly into an eloquent and extremely explicit erogenous zone, Plante convincingly makes the case that there is in fact a difference between erotica and porn. The reader will also learn: how to eat an oyster, how to fist, how to muff. If only Plante had let Tracy keep exploring and explaining herself (on her “slutty” grad school years: “I drew the line at business and criminology students. I mean, we all need standards”). Instead, relentless inside-baseball musical references feel less like scene-setting and more like name-checking to establish music-geek bona fides. Mary Timony, Redd Kross, Langley Schools Music Project….Okaaay. Not least, it’s difficult to imagine many readers having enough particular knowledge or patience to stick with it. Similarly, Tracy’s protracted creative sessions can be pedantic at best, more likely just plain dull (“I put a capo on the second fret of my guitar and fumbled around with chords, finally locating a simple chord progression: Bm D A E”). And curiously, rather than just writing a first-person novel, Plante has inserted herself into the story as “co-author” of St. Cyr’s memoirs. She hits the conceit hard in a giddy foreword but abandons it entirely until a second foreword, this time from Tracy opening the 2019 section. The premise, which adds exactly nothing, is one darling that should have been killed.
Eye-glazing esoterica notwithstanding, this dreamy, erotic “memoir” is a smart, sexy affair.Pub Date: April 18, 2023
ISBN: 9781551529110
Page Count: 352
Publisher: Arsenal Pulp Press
Review Posted Online: March 27, 2023
Kirkus Reviews Issue: April 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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