Funny, shrewd and finely wrought dissections of the awkward contradictions—and surprising harmonies—between conscience and...
Gay Mormons struggle to reconcile their hearts with their faith in these slyly revealing stories.
Townsend’s characters wrestle with the normal neuroses of modern life as distinctively shaped by the Church of Latter-day Saints. In the title story, two young men find that their nostalgia for Victorian culture—sadomasochistic fetishes and a cult of virginity—resonates with their Mormonism. In “Latter-Day Sinners,” a New Orleans man caught in Hurricane Katrina wonders if God’s wrath has been provoked by his homosexual inclinations. The proper Mormon husband of “The Third Part of the Trees” finds his patriarchal authority challenged when his anxiety over global warming prompts him to uproot his family. Elsewhere, the dutiful Mormon angel in “Kolob Abbey” discovers that repressed homosexuality haunts even the most exalted realms of the celestial afterlife. “Julie and Cowboy” follows a closeted student determined to suppress his urges—until his obligatory Mormon fellowship service leads him into temptation in the form of a seductive wastrel. Several stories explore the conflicted impulses of gay Mormons who’ve left the church but find that, after escaping its stifling constraints, they miss the close-knit community it nurtured. Whereas Townsend’s previous story collections charted the darker margins of mainstream Mormon life, in his latest, the tone is more muted, the sexual transgressions less lurid, his characters’ discontent quieter and more reflective, yet it’s no less absorbing. Suffused with talk of politics, these stories register the new openness and confidence of gay life in the age of same-sex marriage; many are set in the tolerant milieu of Seattle, where middle-aged characters lead comfortable, dull lives, their ostracism from the church just another muffled ache amid ordinary estrangements and deflations. What hasn’t changed is Townsend’s wry, conversational prose, his subtle evocations of character and social dynamics, and his deadpan humor. His warm empathy still glows in this intimate yet cleareyed engagement with Mormon theology and folkways.
Funny, shrewd and finely wrought dissections of the awkward contradictions—and surprising harmonies—between conscience and desire.Pub Date: March 15, 2013
ISBN: 978-1626463417
Page Count: 258
Publisher: Booklocker.com, Inc.
Review Posted Online: June 11, 2013
Kirkus Reviews Issue: July 15, 2013
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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