A sprawling, cleverly imagined spoof of political culture and the miscreants it spawns.
A satirical skewering of the machinations of a despicable fictional American president.
Vermont-based author Manning exhibits a well-honed sense of the absurd in a silly but humorously absorbing debut. Wilhelm “Hick” Richter is the current American president, a double-chinned, Trump-esque, coke-snorting scoundrel his 13-year-old son, Billy, describes as “mean as a gutter rat” with a dyed comb-over and nefarious ties to corrupt international entities. Disgruntled with his young wife, Savanna, and their newborn baby, Richter continues to maintain nefarious ties to corrupt international entities while Georgina, one of his daughters, runs his sketchy companies. Cody, another daughter, snoops around and uncovers her father’s corruption and alerts the FBI. She is kidnapped and drugged by someone hoping to make her accept her father’s innocence by, among other things, forgetting some incriminating evidence surrounding her mother’s death. Cody’s brother Billy, who himself has bugged the Oval Office, is determined to swoop in, save her, and have his father implicated. Add to the cast Richter’s chief of staff Baron “Bugsy” Knowles and a host of unscrupulous druggy hoodlums, and you’ve got a serpentine stew of dirty politics. There’s also the smart, young Jeremy Green, who plans to hijack Richter’s reelection plans with his own campaign. Richter enters into a deal with a Russian ambassador named Boris to reveal secrets about a robotic prototype in exchange for help securing his reelection. Cody narrowly escapes her captors and goes on the run, while Richter’s legions of “Hick Brigades” crisscross the nation inciting violence and discord in honor of their philandering leader. Manning lays the head-spinningly satirical groundwork for all of these eerily familiar antics with the ease of a seasoned comedian. If it all sounds insanely zany, it is, yet Manning’s imagination, ambitious plotting, and comic timing are impeccable, and the outright corruption is hilarious. The hijinks steamroll common sense toward the conclusion, when the parade of bumbling idiots makes one final plan to dispose of poor abused Cody. This is a brilliantly conceived parody.
A sprawling, cleverly imagined spoof of political culture and the miscreants it spawns.Pub Date: Nov. 16, 2022
ISBN: N/A
Page Count: 600
Publisher: Encircle Publications
Review Posted Online: Sept. 8, 2022
Kirkus Reviews Issue: Oct. 15, 2022
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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