Sad and disturbing, yet buoyed by hope and formidable female characters.
In Alexander’s historical novel, drought and violent dust storms sweeping across the Texas panhandle bring tragedy and challenges to a young girl.
Ruby Lee Becker is only 10 years old in 1935 when she sits at the double funeral for her grandmother, Alma, and baby sister, Nell, both of whom succumbed on the same day to the deadly dust plague. Ruby’s mother, Willa Mae, is frozen with grief. Just days later, Ruby falls ill with “dust pneumonia” and is hospitalized. When she recovers, her father and older brother, Will, pick her up, but they drive her the train station, not home; Will is taking her to Waco, where the air is clear. He gives her $20 and leaves her with Granny Alma’s widowed cousin, Bess, with whom she is to live until the air in Hartless, Texas, is once again safe for breathing. Angry and frightened, Ruby decides the only thing in her control is her voice, and she decides to stop speaking. She hears nothing from her family, and in 1936, shortly after her 11th birthday, Cousin Bess dies. Ruby’s next stop is the Waco State Home for Dependent and Neglected Children, where she remains for seven years, despite repeated escape attempts. Playing out in tandem with Ruby’s story is that of her mother; unbeknownst to Ruby, Willa Mae has been placed in the state mental facility. The mother and daughter poignantly narrate alternating chapters in Alexander’s coming-of-age Dust Bowl narrative. In vivid, graphic prose, enhanced by dialogue that reflects the dialects and linguistic patterns of the period and social station of the characters (“A red sun augurs a bad day”), the author limns the chilling cruelty of the treatment of mental patients as well as the abuses that take place at the children’s home. There are also delightful interludes, as when Eleanor Roosevelt rescues Ruby during a dust storm, or when the school nurse gives her special (marijuana) cigarettes to help her asthma. Most appealing are the tender friendships that develop at the home and on the road as Ruby gradually learns that families can be created in all sorts of ways.
Sad and disturbing, yet buoyed by hope and formidable female characters.Pub Date: July 3, 2025
ISBN: 9781685136222
Page Count: 368
Publisher: Black Rose Writing
Review Posted Online: May 20, 2025
Review Program: Kirkus Indie
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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