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MY MOTHER AND THE ARTIST

An often-engaging story of an unusual relationship and its effects on those around them.

Synan presents a novel about the murky, complicated life of a 1980s sexual submissive.

In the present day, Alexandra Lizska is the CEO of a corporation that provides shelter for abused women in the San Francisco Bay Area. She’s a skilled fundraiser, and she’s achieved success on her own without any support from friends or family and without a college degree. However, her world is upended when her estranged mother, Margaret, dies, leaving behind a lightly fictionalized memoir called Owned, which focuses on its main character’s relationship with a “big deal” real-life artist in New York named Bernard Barenbaum.As it turns out, Margaret was one of Bernard’s sexually submissive lovers in the ’80s; he even had her sign a “consensual contract.” During their time together, he carved a B onto her body with an X-Acto knife in a backyard ceremony. Bernard is the reason why Margaret and Alexandra (who’s called Amy in the fictionalized memoir) moved from Ohio to Brooklyn when Alexandra was a child. When Alexandra journeys to New York City as an adult to settle her late mother’s affairs, she begins reading the soon-to-be-published book. Her first impulse is to block its publication but, as it turns out, she has no legal power to do so. She continues reading and finds “every chapter a new shock,” and she finds out more details about Margaret and Bernard’s connection than she ever wanted to know. In addition, Alexandra finds out more about her own childhood in the story of “Amy.”

The novel captures the reader’s attention early with the very first mention of the term slave. As the details of Margaret’s voluntary servitude are revealed, it becomes apparent that she had few limits on what she was willing to do for Bernard—although she did have some, as in a scene in her book in which she was given the option to either go to a dungeon or participate in group sex. As Bernard tells her, “Both will happen eventually, but I’ll let you decide which you’d like next.” Such is his way of always explaining things, as if he has the right to command; the resulting tension between Bernard and Margaret enlivens the narrative. Somewhat less compelling is the story of the friendship that develops between Amy and Bernard’s adopted son, Daniel, the child of one of Bernard’s former lovers; he’s portrayed as a strange boy who takes pleasure in things such as keeping pet cockroaches. As he and Amy grow closer, he becomes determined to help her with a chronic kidney problem that’s plagued her all her life. This storyline makes for a pleasant contrast to the rest of the novel, but the structure of Synan’s work is such that there’s little suspense regarding the severity of Amy’s health problem—as, obviously, she grows up to become the successful Alexandra. The secrets revealed about Bernard, Margaret, and the bizarre ways of adults are of much greater interest throughout.

An often-engaging story of an unusual relationship and its effects on those around them.

Pub Date: Oct. 31, 2024

ISBN: 99798350971866

Page Count: 316

Publisher: Book Baby

Review Posted Online: Oct. 22, 2024

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THE CALAMITY CLUB

Fans of Stockett’s bestselling debut will love this engaging follow-up.

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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

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WHISTLER

An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.

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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

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