A skillful but overstuffed collection of poems.
A volume offers two decades of poetry by a prolific writer.
Solonche’s poems focus on small fascinations and random objects, from a favorite corduroy jacket and writings on a bathroom wall to a found pencil and a utility pole. Nothing is too minute or insignificant for him to put into verse. Poems like “Student and Zen Master” and “I Asked the Famous Novelist” provide brief, quirky conversations between the speaker and various individuals. Nature also factors heavily in this collection; the poet portrays a family of geese in the night, frozen lakes in January, and butterflies by the river. Writing is a recurring theme as well; the speaker shares interactions with his students, struggles with writer’s block, and even apologizes to readers for his failings. Love, lust, and sex make occasional appearances, including in “Anniversary,” a poem that catalogs the titular special day, which, after many years in a relationship, turns out to be rather mundane. Another piece contemplates a couple French-kissing on a bench in Washington Square Park. Death and mortality also insert themselves in these poems; “I Want a Fireman’s Funeral” is essentially a list of must-have memorial demands. Solonche is a proficient poet. He consistently captures the magical in the mundane. In “My Daughter Says Goodnight,” he describes that rapid transition of a young child from rambunctiously active to peacefully asleep in a scene any parent will recognize: “I turn over your form / from face-down animal / to two-legged, two-armed person.” He depicts 18-wheelers that “loom up out of nowhere, then spit / their headlights and pass.” But a couple of the poems are a bit off-putting, such as “Two Old Indians,” which features a pair of Native Americans conversing about crows, and “The Feminist Poet,” which reduces the female subject to a wagging tongue and nipples “like the tips of ballpoint pens.” It’s also difficult to justify a collection this large. After 430-plus pages, some readers may wonder why certain poems, like the one in which the speaker pledges his love to the Starbucks mermaid, made the cut.
A skillful but overstuffed collection of poems.Pub Date: April 15, 2021
ISBN: 978-1-94-717551-8
Page Count: 438
Publisher: Serving House Books
Review Posted Online: July 28, 2021
Review Program: Kirkus Indie
BOOK REVIEW
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
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
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
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