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LOVE, LIZZIE

A suspenseful revelation of hidden family history and a celebration of female empowerment.

In Zaiss’ multigenerational novel, a divorced, lonely woman investigates a mysterious figure in a photo she discovered while handling her father’s estate.

The story begins with a diary entry dated 1952. A woman named Emma Hoskins uses a false name, Lizzie, to tell a story of grieving a miscarriage. In her early 20s, Emma became pregnant despite being advised not to do so, as she once had rheumatic fever that left her with serious heart disease; having children wasn’t just ill-advised, it was likely to make her condition worse. She says that her husband, Frank Hoskins, “has little sympathy” and thinks that “having a family is still in the cards for us”; however, Emma records in her diary that she’s “not taking that chance again.” The narrative then shifts to 2003: Maddie Hoskins, a 35-year-old divorced and childless insurance claims adjuster, is at her recently deceased father Frank Hoskins’ house in California. Her mother, Theresa, and younger brother, Adam, died before him, so Maddie now finds herself all alone in the world. While going through Frank’s papers, she discovers a photo of a beautiful woman with the notation “My Emma, Summer 1946.” Maddie returns to her Las Vegas home and solicits the help of an investigator at her firm to find out more about Emma. The novel intercuts Maddie’s 2003 discoveries with Emma’s 1950s diary entries; the latter, along with other expository narrative, brings to light how Frank came into Emma’s life in Nebraska and show the ramifications of her becoming pregnant for a second time.

Zaiss has crafted a page-turner that not only spurs readers’ interest in finding out what happened to Emma, but also offers multidimensional portraits of other major characters. Emma’s mother, for instance, is described at one point as being “somewhat mechanical...like she’s following an instruction manual requiring precise compliance,” and the author offers engaging insight into this demeanor as the character steps up to assist her daughter through a life-changing decision. Frank, who’s villainous at times, receives a backstory that believably underpins his actions. Emma’s second pregnancy, however, is the novel’s stunning dramatic centerpiece. Zaiss presents a woman navigating a shaky and sometimes-frightening marriage and dealing with male doctors who may or may not be right about how to handle her condition; the book also addresses the stringent rules surrounding when and how women could obtain abortions during this era. The novel also portrays other marriages, including, thankfully, some good ones, such as that of Emma’s best friend, Patsy. Another important figure initially resists Maddie’s attempts at connection due to her own pain and harrowing backstory. The novel goes down some less-interesting byroads; Maddie’s descriptions of the rather mundane unraveling of her own marriage, for example, are eclipsed by Emma’s more striking account. Still, Maddie’s determination to find the truth brings the novel to a touching, healing conclusion, with Maddie realizing that Emma “has triggered in me a deeper appreciation, a conviction, that my life matters.”

A suspenseful revelation of hidden family history and a celebration of female empowerment.  

Pub Date: Nov. 16, 2022

ISBN: 9798987241905

Page Count: 320

Publisher: Self

Review Posted Online: Jan. 5, 2023

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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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HOLLYWOOD, ENDING

A classic Green portrait of young love…but here the fault is in our social media.

A relationship between young screen actors is magical, fraught, and relentlessly public in Green’s first novel for adults.

“Every movie romance needs an Obstacle, a reason the characters don’t naturally fall into each other.” In the off-screen romance between actors Juniper Castillo and Kai Laramie, the obstacle is a moving target. Juniper notices early on that as flirty and forward as Kai is, he seems “closed off to a romantic connection”; that turns out to be the tip of a very problematic iceberg. The two meet in the lobby of a Pittsburgh hotel where they will be spending the evening with Matthew Malone, the megastar playing Andy Warhol in a movie they’re about to begin shooting, Andy Warhol Never Gets Old. Kai has been cast as Andy’s intern, Juniper as a journalist who gets in over her head. This is Juniper’s first adult role after a long run as a Nickelodeon child star, and newcomer Kai’s first role of any kind. Green evokes in compelling detail all the phases and aspects of the film project, from the table read to the screening of the rough cut, from the social media fanfare to the public premiere and the press junket, moving back and forth between Juniper’s and Kai’s first-person perspectives. In a meeting with one of the ubiquitous publicists, Kai learns that somehow “the high school stuff” he never talks about—despite their growing inseparability and seemingly profound connection, he hasn’t even brought himself to share it with Juniper—has surfaced. Details emerge slowly, then blow up in the media; the book’s third act focuses on the destructive potential of celebrity culture in a climate that makes Warhol’s milieu look innocent by comparison. After a long break from writing fiction—his last two books were Everything Is Tuberculosis (2025) and The Anthropocene Reviewed (2021)—Green fills this novel with carefully observed details of Hollywood culture and characters, including running jokes about vegan cuisine, media training, and the way Kai’s agent constantly and boorishly consults his young female assistant on points of political correctness. Can he talk about “hot girls”? Can he quote T.S. Eliot? OK to say “dog vomit”?

A classic Green portrait of young love…but here the fault is in our social media.

Pub Date: Sept. 22, 2026

ISBN: 9780525426073

Page Count: 304

Publisher: Dutton

Review Posted Online: Sept. 4, 2026

Kirkus Reviews Issue: Oct. 15, 2026

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