Sharp, elegiac, angry, funny stories with a searing loneliness often just underneath the surface.
Weir's linked collection of bittersweet, often witty stories elucidates almost 50 years in the life of a gay White man in the U.S., from enduring school taunts in 1970s New Jersey to experiencing the horrors of AIDS to that epidemic's continuing reverberations for a scarred (and mostly HIV-positive) generation.
The first of the book's three parts, harrowing and sometimes bitingly funny, centers on a narrator who's the caretaker, nursemaid, and faithful sidekick to a friend—not a lover, but a beloved—who's dying. Watching that friend waste away, enduring his hostile outbursts and caustic jokes, indulging his whims: Weir writes powerfully and with nuance about what it's like to grieve someone into the grave and beyond and what it's like to have that grief haunted and needled at and undermined, in a way, by how unpleasant and hateful the beloved became as his health deteriorated. The second section, "Long-Term Survivors," follows this same narrator—his name is John Weir, a stratagem that sometimes seems clever but that can also feel coy—through the next 30 years. Two stories in this section feature his mother. A standout is "Humoresque," in which the narrator, now in his 50s, has come down to Pennsylvania to check on his octogenarian mom, just out of the hospital after a brain bleed she wasn't expected to recover from. She's the kind of person often called indomitable, which (accurately) makes her seem formidable in the way of a battleship or a frosty screen idol; the narrator describes her as "a movie star without a movie to star in." Their impatient, affectionate banter—she's another big personality to be helpmeet to, co-star with, the narrator's preferred (if also resented) role—is lovely and persuasive, and Weir uses it to illuminate what's going on in the narrator's love life; he's here in part, as his perceptive mother intuits, to claim her car so he can drive north to pursue another of his doomed, barely or nonphysical love affairs with another inaccessible man.
Sharp, elegiac, angry, funny stories with a searing loneliness often just underneath the surface.Pub Date: April 26, 2022
ISBN: 978-1-63628-029-5
Page Count: 224
Publisher: Red Hen Press
Review Posted Online: March 1, 2022
Kirkus Reviews Issue: March 15, 2022
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
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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