A powerful poetic reckoning with motherhood and religion.
Lanier offers a collection of poems addressing motherhood and religion.
This body of poems straddles the delicate creation of new life and the unpredictability of death. The author begins with a poem about pumping breast milk at work (“Pumping Milk”). As she stands topless in the office, she contemplates the strange dichotomy of her identity: “half of me is made / for spring break gone primal, / the other half / will write a memo. / Is this what it means / to be a mother? The self, split.” She complains about a walk interrupted by someone pushing free Bibles and ponders a looming government shutdown while marveling that her body houses “someone thirty weeks in the making / and already a heart beating” (“Bed Rest”). Bizarre stories (a bear takes police on a wild chase) mingle with tragic ones (police violence against Black men). She imagines what Jesus doodled in the sand, adopts the point of view of Eve, and wonders about the Virgin Mary’s experience of pregnancy. As critical as the poet is of religion, she also acknowledges that “science / can’t state a single / thing sturdily” (“ ‘Jesus Might Have Walked on Ice,’ Scientists Say"). Lanier’s metaphors are masterful. Her pregnant body is “a bulbous / water-slow clock of waiting” (“The Making”). A baby has “Q-tip toes of a newborn” (“Only a Sliver of Love Runs Hot”). Of pumping breast milk at work, she writes, “I’ll soon hook up / with plastic trumpets, turn on / my motor, get milked.” Her descriptions are visceral and unique—in “Bed Rest,” a midwife “cranks / the metal beak” of a speculum during a prenatal exam. Lanier’s truth telling is bold and vulnerable. Following her father’s death, she writes, “Grief wails the first year, but by the seventh / it whispers. The quiet is maddening” (“Ode to Seven”). She captures the ambivalence and anxiety of motherhood accurately; nearing the end of her pregnancy, she writes, “I’ve tried, for your sake, to love / this state” (“Forecast in the Thirty-First Week”).When the poems veer into politics, however, they lose a little magic.
A powerful poetic reckoning with motherhood and religion.Pub Date: Sept. 12, 2023
ISBN: 9781958972069
Page Count: 80
Publisher: Monkfish Book Publishing
Review Posted Online: May 11, 2023
Review Program: Kirkus Indie
BOOK REVIEW
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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