Nostalgia and longing conveyed through abstract metaphors and interior dialogue.
Alharthi, winner of the Man Booker International Prize for Celestial Bodies (2019), uses a dreamlike, nonlinear structure to show how the complications faced by a young Omani woman studying abroad merge with her remorse-filled memories of her very traditional surrogate grandmother.
While Zuhour spends her days interacting with a coterie of international students at a university in a cold, unnamed English city, her nights are full of dreams concerning Bint Aamir, whom Zuhour calls grandmother although she was actually a distant relation. Brought into the family home by Zuhour’s real grandparents, Bint Aamir helped raise Zuhour’s father, Mansour, who was her great love, and then Zuhour and her siblings. Zuhour is haunted by regret that she never said a formal goodbye before she left Oman; Bint Aamir died soon after. Zuhour remembers Bint Aamir’s hard, lonely life—she was abandoned in childhood, permanently blinded in one eye, her one possibility of marriage thwarted, living in constant service to others without family, land, or possessions of her own—in bits of memory that merge with Zuhour’s own present life. So Zuhour’s description of Bint Aamir’s ruined eyesight slides into Zuhour’s own “still misty and blurred” sight. In talking about her own life, Zuhour is not a fully trustworthy narrator; her feelings toward Bint Aamir and the past she envisions for the dead woman reflect her own confused emotions surrounding her Pakistani friend Kuhl. Kuhl is passionately involved with fellow medical student Imran, although her wealthy, cosmopolitan parents would never approve of the match because Imran comes from a family of peasant farmers. Zuhour likes to think of herself bonded with Kuhl and Imran, but it is not a neat triangle. Attracted to Imran and perhaps to Kuhl as well, Zuhour remains shut outside their love for each other. The parallel of Zuhour’s and Bint Aamir’s lonely outsider status echoes through Zuhour’s never-ending dreams and thoughts.
Nostalgia and longing conveyed through abstract metaphors and interior dialogue.Pub Date: May 10, 2022
ISBN: 978-1-64622-003-8
Page Count: 224
Publisher: Catapult
Review Posted Online: March 15, 2022
Kirkus Reviews Issue: April 1, 2022
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
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
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