A poignant and chilling drama with intriguing twists.
In Martinez’s New Orleans-set historical novel, secret lineages lead to heartbreak and new beginnings.
It is New Year’s Eve 1834, and Madame Desiree Marie de Valcourt regrets that she has agreed to attend her friend’s elaborate celebration. Her husband died several years ago, but given how controlling and cruel he was, it was not a great loss. With his death, she reclaimed her wealth and sense of self, but now the young widow is desolate; just recently, cholera claimed the life of her young daughter. Now, Desiree has no interest in social interaction. She leaves the party before midnight. Arriving at her front gate, she sees a basket tucked into the foliage—inside is a beautiful 1-year-old baby. There is no message or identification. Desiree vows to raise the infant on her own. She has the child christened Colette Francoise de Valcourt, and the following years are filled with joy as Colette grows into a beautiful, refined, and educated young woman. The only wrinkle in Colette’s perfect life is that she knows nothing about her biological lineage, and she is aware of the whispers behind her back. Still, after her spectacular gala debut, she is surrounded by many eager, eligible suitors. One captures her heart: the charming, mysterious, wealthy heir of the Crescent Plantation, Armand Baptiste Quevillon (“His mysterious aura and sophisticated demeanor intrigued her like a puzzle waiting to be solved”). After Colette moves to the plantation, readers meet the magnetic Rene Crozat, a biracial freed enslaved person and veterinarian, whom Armand has banned from the property; Rene’s backstory adds an extra dimension to what becomes a classic good vs. evil morality play. The author deftly employs character development and narrative complexity to produce a sturdy indictment of the era’s institutionalized subjugation of women and bestial treatment of Black people. Though the elaborate descriptions of fashion and decor are occasionally too effusive, and the treatment of suffocating behavioral restrictions a bit overwrought, Martinez’s simply composed prose bursts with vibrant colors, and he vividly captures the ethnically diverse and exotic atmospherics of New Orleans.
A poignant and chilling drama with intriguing twists.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: N/A
Review Posted Online: Aug. 7, 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
Mostly charming, sometimes twee, with some really lovely things to say about poetry.
And now for some lessons in poetry and typesetting.
After Lessons in Chemistry (2022), a debut that became one of the most popular books of recent years, Garmus applies her unique comic sensibility to the story of Batter Gray, a man named after a family dog of mythic talents. A poetry maven who was reading Auden as a fourth grader, he was raised by a type-designer mother and historian father who dearly hoped he would choose some more viable profession than poetry. But via an amazing stroke of luck, he lands a job after college at Peck & Peck, an illustrious literary journal located in a beautiful building in New York City. He’s at the very bottom of the complex and dysfunctional totem pole, making copies in the basement, struggling not to run afoul of the cantankerous editor-in-chief, Salton Peck, or his smarmy assistant, Dexter York, both of whom have taken an instant dislike to our hero (and can never get his name right. Few people can). And to be honest, Batter is not without his flaws. The novel bogs down a bit in the middle, with Salton constantly excoriating his staff in ALL CAPS and much ado over the possibility that submissions have been taken outside the building, which is forbidden. Along the way, many, many famous poets are name-checked, as are many typefaces, since Batter has been raised to instantly identify a font in the wild. The best example of this occurs during his brief sojourn in jail: “The thing I kind of admired about Motherfucker II, besides his manners, was this huge tattoo he had on his neck that read I will fuck you up in ITC Bolt. Call me my mother’s son, but whoever inked it nailed the kerning.” The narrative picks up steam toward the end, as bad guys become good guys, mysteries are solved, and Batter throws one hell of a party.
Mostly charming, sometimes twee, with some really lovely things to say about poetry.Pub Date: Oct. 13, 2026
ISBN: 9781668251065
Page Count: 432
Publisher: Scribner
Review Posted Online: July 6, 2026
Kirkus Reviews Issue: Aug. 1, 2026
BOOK REVIEW
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