An excellent and thoughtful exploration of art, ambition, and mortality.
In this novel, the illegitimate son of a literary giant deals with love, loss, and the struggle to find himself.
Oscar Kendall’s father was Isaiah Moss, a god in the literary pantheon (think Philip Roth, John Updike, Saul Bellow). It is the old story of the epigone. Oscar is a relentless writer himself but has never published a thing because Papa Isaiah’s talent is overpowering, sapping, and emasculating. Instead, Oscar keeps a low profile, teaching at a prep school, hiding his paternity, and wallowing in his inadequacies. Then Isaiah dies and leaves Oscar his cabin on a New Hampshire lake and all its contents, which include the manuscript of his last, unpublished book. Oscar, there for the summer, meets May Pierce, a fierce amputee, and falls slowly in love with her. Readers discover information about Isaiah from his acerbic but oddly ambiguous letters to his son. Readers also learn the history of so many who suffered during various wars: Isaiah’s father, who died in World War II; May’s grandmother Ruby Pierce’s young husband, who died in Vietnam; May, who lost her legs in Afghanistan; and Isaiah, who lost his innocence in Korea. Pace is a very strong writer considering that he has to produce passages supposedly penned by this imagined titan of letters. What starts out as a rumination about literature and aspirations—will Oscar find the courage to escape his father’s shadow, or is he in fact a genteel loser?—turns subtly into a compelling reflection on the loss of life and limbs (May was a champion runner). Along the way, there are intriguing “interludes” that readers find out are excerpts or fodder for the manuscript that Oscar will finally start writing (“Free at last!”). Perhaps the best part of the book is Pace’s decision to make Oscar the narrator. He provides a wonderful voice, all the insecurities, but also all the anger and decency that Oscar is unaware of but that readers will recognize. He has always been a better man than he thought, and the audience will rejoice to see that.
An excellent and thoughtful exploration of art, ambition, and mortality.Pub Date: Dec. 14, 2021
ISBN: 978-1-936519-99-6
Page Count: 234
Publisher: Reliquary Press
Review Posted Online: June 3, 2022
Kirkus Reviews Issue: July 15, 2022
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
PERSPECTIVES
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