by Jim Naremore ‧ RELEASE DATE: Dec. 17, 2024
A gripping tale of a troubled artist and her forced homecoming, replete with American pathos.
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In Naremore’s novel, a talented photographer must confront her painful personal history when she returns to the town where she went to high school.
Readers meet the curiously-named Skade Felsdottir (rhymes with “shade,” she tells a police officer) as she is crisscrossing America’s highways in her ancient Jeep Wagoneer. Skade’s apparent destitution is confusing, at first, as she is a highly sought-after photographer—so much so, in fact, that she has recently won the Klausterman Prize, an honor that carries the additional benefit of a fairly lucrative book deal with the venerable Chancery publishing house. But as readers spend just a few pages with Skade, they come to suspect what may be holding her back: Never more than a few minutes pass by without her reaching for a vodka bottle. She drinks everywhere she can, and even a few places she can’t, like behind the wheel of that beaten-up Wagoneer, which she has been living out of. With a scant month left before her deadline to turn in her final manuscript including all of her photos and narrative descriptions, Skade is lightyears behind where she needs to be, and the only way she can think to wrangle more time from her publisher is to photograph a set of ceremonial totem poles they’re interested in. This normally wouldn’t be so bad, but these totem poles are located in Carleton, the small town outside of Chicago where Skade attended high school. As she returns to her old haunts, readers come to understand that her drinking may have taken root here after a horrible (and especially bloody) accident on the road that she yearns to forget. Skade reconnects with an old boyfriend (though she knows better) and meets Kit, a young woman whose own trajectory shares striking commonalities with Skade’s troubled past.
Naremore’s novel tells, in some ways, a familiar story: A struggling protagonist returns to her hometown, where she is forced to settle with the demons of her past. But the author’s keen powers of description make the novel feel fresh: “She was a needle pulling stitches across a gas station road atlas of America… Her sutures ran roughly along the line where the names began to change from things like Manatoc and Muskeegum and Oswego and Kankakee—to Fortville and Columbus and English and Whitestown”. Such sweeping, gripping descriptions of the American landscape are pleasingly commonplace here, and, together with the descansos that Skade photographs, they establish a noir-ish, pastoral flavor to Naremore’s setting that feels both new and authentic. Skade is a character who readers haven’t met before and will want to spend time with, her troubling alcoholism aside—one can’t help but be taken with a woman who, hungover to the gills and without a clean swimsuit, simply decides to hop the fence of the closed motel pool and swim in her underwear amongst the floating husks of junebugs and the buzzing of hungry mosquitoes. Readers, too, will put up with any small nuisances to stick with Naremore’s seductive narrative.
A gripping tale of a troubled artist and her forced homecoming, replete with American pathos.Pub Date: Dec. 17, 2024
ISBN: 9781646035052
Page Count: 241
Publisher: Regal House Publishing
Review Posted Online: Dec. 11, 2024
Review Program: Kirkus Indie
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by Kathryn Stockett ‧ RELEASE DATE: May 5, 2026
Fans of Stockett’s bestselling debut will love this engaging follow-up.
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New York Times Bestseller
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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by Ann Patchett ‧ RELEASE DATE: June 2, 2026
An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.
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New York Times Bestseller
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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