by Joram Piatigorsky ‧ RELEASE DATE: April 1, 2026
A book whose brevity belies its profound philosophical teasing.
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In Piatigorsky’s novel, a journalist is determined to write an honest biography of her best friend—a project that proves to be a profound philosophical and metaphysical challenge.
Devra Denniston is a very successful (and very private) scientist and academic, who, as the story opens, is at her 75th birthday party. Her best friend, journalist Alison Mellows, wants to write Devra’s biography, which she proposes as a gift. Devra resists strenuously at first, but later she falls mysteriously ill with a malady whose severity fluctuates dangerously. Alison (whom Devra calls “Angela”) later discovers a cache of her friend’s writings. Devra is not only a respected scientist but a talented wordsmith, and the bulk of the book consists of selections of Devra’s writings, which serve as fodder for Alison’s research into her subject. Some are clearly fictional tales, others are transcriptions of dreams, and still others lie in a tantalizing gray area. Devra may, in fact, be a fabulist of the first order, and neither Alison nor the reader ever really knows the truth. The key term here is uncertain—a term that permeates everything. Devra never warmed to her parents, for example, which leads to questions: Did her father abuse her? Was she, in fact, adopted? Did she, a woman who never married, have a child whom she surrendered for adoption? Eventually, Alison is encouraged to write and publish her long-planned biography, and in a final, sardonic twist, the initially poorly selling book later becomes a bestseller for the wrong reasons.
Readers may wonder if the novel is intended as an honest exploration of its themes, or if it’s an elaborate put-on. Its main theme seems to hinge on the distinction, as it explores the boundaries between reality and imagination; Devra has been struggling with such duality all her life. Certainty and uncertainty also play a large part in the narrative—so much so that Alison eventually opts for uncertainty, because it leaves open possibilities that the other option closes off: “Uncertainty, like hope, leaves the door open for a miracle to slip through”—a fair point, and one of the easier ones to grasp. However, the book’s discussion of reality and imagination brings to mind familiar conundrums, such as the old Taoist story in which Zhuang Zhou dreams of being a butterfly and then wonders if he’s actually a butterfly dreaming of being a man. There are really only two characters in the story—“Angela” and Devra; later, the situation changes, and “Angela” can be Alison again. These symbolic nudges surface again and again, and one starts to wonder how close these “blood sisters” really are. There are a couple of points when it seems as if “Angela” and Devra have switched places in the narrative. In any other book, one might pass it off as a simple slip-up, but such is the atmosphere of deception and gaslighting in this story that readers can’t truly be sure; perhaps they are all part of the joke.
A book whose brevity belies its profound philosophical teasing.Pub Date: April 1, 2026
ISBN: 9781964428086
Page Count: 197
Publisher: N/A
Review Posted Online: Sept. 17, 2025
Review Program: Kirkus Indie
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by Kathryn Stockett ‧ RELEASE DATE: May 5, 2026
Fans of Stockett’s bestselling debut will love this engaging follow-up.
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New York Times Bestseller
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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by Ann Patchett ‧ RELEASE DATE: June 2, 2026
An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.
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New York Times Bestseller
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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