Nails the emotional contradictions, absurdities, and cathartic surprises of modern life.
After a daredevil’s death shocks his circle, his best friend goes on an audacious quest for meaning.
Joan Didion called the aftermath of her husband’s death “the year of magical thinking.” For Lola Treasure Gold, the year after her best friend, Alex, dies is a season of sublimated grief turned metamorphosis. Though Alex is gone, his death is a sensation—he fell seven stories trying to sail a skateboard from one roof to another, witnessed by the friend who was filming. Their tight friend group is stunned, and to add to the loss, Lola knows their friendship could have been more. These are social media–savvy free spirits in LA; Alex died doing a stunt for clout—or maybe transcendence. Experimenting with her purpose and identity, and needing income, Lola starts to branch out. She gets shoved into the limelight: Someone films, remixes, and posts her semi-serious soliloquy on what Alex’s life might mean. The video takes off, and Lola attracts a growing fan base. She gets the hang of living larger online and, through a hero’s journey of adulation and cancellation, travels the path from ironic pseudo-guru in a sea of charlatans (“I’d just flown back from a secretive weeklong retreat intended to help scions of billionaire families understand how to live with themselves”) to someone who really does infuse people’s lives with sincerity and wonder. Chang draws characters with quick mastery, and writes Lola as a mille-feuille of sophistication, delighted lust, and self-doubt. The dialogue snaps and sparks, and Chang dispenses observations about race, class, feminism, sex, and influencer and tech-founder culture with panache. As the novel follows Lola’s search for a reason to live without Alex and a vision of who she could be on her own, it braids satire of rich people searching for their souls and a practicum on how to find closure, with both our living and our dead. Lola’s ache to know more about her Chinese family of origin, which turned her into a first-generation orphan half-raised by a landlord, is a poignant throughline as well. Despite sometimes fluffy revelations, Lola is a magnetic character who, despite her public life, has her most profound thoughts in private.
Nails the emotional contradictions, absurdities, and cathartic surprises of modern life.Pub Date: Sept. 30, 2025
ISBN: 9780063416390
Page Count: 304
Publisher: Ecco/HarperCollins
Review Posted Online: July 17, 2025
Kirkus Reviews Issue: Aug. 15, 2025
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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