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FRANCINE

Anyone surrendering to this surreal, digression-prone saga might just enjoy the ride.

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A globetrotting, time-traveling, philosophical sci-fi novel from Taylor.

Francine, the narrator and protagonist of this chaotic stew of a historical novel, is (in Kurt Vonnegut’s memorable phrase) “unstuck in time.” And that’s the least of it. Francine bounces all around history, popping up in various times and places, though, chronologically, she does have a home—sometime in the 17th century, in her little traveling box on a ship that has left Amsterdam and is sailing to destinations unknown. She is with her “Poppà” who may or may not be René Descartes (as she later claims). It’s important to note that Poppà is French and a brilliant mathematician, but also a lousy poet. And Francine is actually a very cleverly fashioned automaton, all the rage in that era. But somehow Francine actually acquires a soul and comes to life, rather like Pygmalion’s Galatea. If there is an intellectual basis to the story here, it is Friedrich Nietzsche’s theory of eternal return: the idea that one’s life could be on something like a never-ending loop. For obvious reasons, Francine is a big believer in “I think therefore I am,” though perhaps it should be “I talk therefore I am,” because talk she does, flitting from one memory to another like a drunken hummingbird.

But Francine is not just a good talker. She helped Walt Whitman nurse Civil War soldiers in Washington, D.C. She was at Trinity Site for the detonation of the first atomic bomb and in Paris at the time of the Terror. She was at Salem for the witch trials. She even makes scathing comments about Donald Trump: “I should know my enemy.” In an anecdote that stands alone, B.F. Skinner’s daughter takes her on a wild motorcycle ride—that’s how random this novel can be. None of this seems to confirm the Nietzschean eternal recurrence supposition exactly, only that Francine has a free pass to roam through time and make trenchant judgments and observations. But at some point, the reader will wonder just where all of this is leading. Early on, Francine says, “Mysteries are only confusing when you think about them.” Right. So we are invited to go along for the ride and learn about her love life (she’s bi-) and witness many random historical cameos (Emily Dickinson, Charles Bukowski, Alan Turing, Camus, and Sartre) while a storm rages at sea and the sailors on this ship to nowhere begin to suspect, as 17th-century sailors will, that this so-called automaton—Poppà and Francine sequester themselves in their cabin but the sailors can hear them talking—is in fact a witch who, of course, needs to be thrown overboard to placate the weather. Finally, when Francine is hoisted aloft by the angry sailors, facing a fate that is still unclear, she is still talking, still philosophizing. Although Taylor asks a lot of his readers in terms of attention span and suspended disbelief, there are intermittent rewards throughout the novel if one is patient enough to find them.

Anyone surrendering to this surreal, digression-prone saga might just enjoy the ride.

Pub Date: Jan. 1, 2026

ISBN: 9781964277561

Page Count: 84

Publisher: Main Street Rag

Review Posted Online: Oct. 2, 2025

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THE CALAMITY CLUB

Fans of Stockett’s bestselling debut will love this engaging follow-up.

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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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WHISTLER

An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.

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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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