A romantic comedy that’s both cozy and empowering.
After years of hiding her shine, a woman adjusts to life in the spotlight when she’s a guest on a plus-size makeover show.
Everly Winters would rather blend in than stand out—after all, she spent years listening to her overly critical mother tell her she was too loud, too bold, and too much. It’s easier to hide and live life on the sidelines, preferably while wearing neutrals. But then she gets nominated to be a contestant on On the Plus Side, a Queer Eye–type makeover show that only showcases plus-size people. Instead of trying to hide their bodies, the contestants are encouraged to believe in themselves and their inherent fabulousness. Everly is wary of being in the spotlight, but she loves hosts Jazzy Germaine and Stanton Bakshi too much to say no. But this means she has to not only face her fears but do so on camera. Everly can barely admit to herself that she wants more out of life than her role as a receptionist at a marketing firm—she wants to work in the design department. Most important, she misses the woman she used to be before she took her mother’s words to heart and started dressing to blend in. The show’s producer also nudges her to admit her feelings for her Chris Hemsworth–doppelgänger coworker, James—someone Everly assumes would never be into her. Everly expects it to feel difficult as she breaks out of her comfort zone, but one thing she doesn’t expect is to develop a crush on Logan, the cameraman who follows her everywhere. He’s gruff and seems to dress exclusively in flannel, but the more she gets to know him, the more she sees that underneath his grouchy exterior is a deeply kind (and kind of sexy) interior. Everly is a relatable character, and her bravery and persistence in chasing the life she wants creates a satisfying arc. Howe balances Everly’s insecurities with her newfound belief in herself—while her mother may shame her, the novel never does, and Everly is presented as beautiful, capable, and the star of her own story.
A romantic comedy that’s both cozy and empowering.Pub Date: Dec. 26, 2023
ISBN: 9781250837882
Page Count: 368
Publisher: St. Martin's Griffin
Review Posted Online: Oct. 7, 2023
Kirkus Reviews Issue: Nov. 1, 2023
BOOK REVIEW
BOOK REVIEW
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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