An intimate study of parenthood, sacrifice, and a fight for self-fulfillment.
Young’s novel presents a portrait of a woman unraveling amid the pressures of domestic life.
In 1984, 30-something Elly Sparrow, who works in the registrar’s office at Portland State, is in a hospital after suffering a breakdown, seemingly brought on by motherhood. The novel then jumps back a year to reveal Elly in a completely different state, experiencing a sweet, summer moment with her 7-year-old daughter, Jane—a seemingly innocent exchange in which the child asks, “When you were a little girl, did you want to be a mommy?” This triggers Elly’s buried discontent; as a mother of four, she feels trapped by a tidy image of suburban perfection, suffering from feelings of isolation. These make her burst into tears at seemingly random moments; they also lead to her pursuing a flirtation at the park and even contribute to a car accident. There are also flashbacks that show who she once was—career-driven, with a desire to become a teacher, yet appreciating life’s adventures; she had a wonderful relationship with her husband, Dan, until they became parents. In the present day, the formerly free-spirited Dan has hardened; he faces career pressures as a lawyer, which results in Elly’s assuming sole responsibility for many daily tasks. Later, the couple’s sudden marital separation turns Elly’s world upside down. She’s forced to reckon with what she’s lost, and what she’ll do next for herself and her children. Young’s prose, paced rhythmically with the story, evokes ideals of suburban Americana, which later collapse with emotional clarity: “She went to the window when she heard the sound of fireworks zinging and popping, the blast of a car horn, and the shouts and laughter of young voices. Midnight. She peered into the moonless night.” Particularly fascinating is how hope emerges not through self-discovery, but through the protagonist’s return to a past self. Overall, it’s a poignant look into motherhood and the fragile art of remaking a life.
An intimate study of parenthood, sacrifice, and a fight for self-fulfillment.Pub Date: April 14, 2026
ISBN: 9798886454529
Page Count: 256
Publisher: Greenleaf Book Group Press
Review Posted Online: Nov. 3, 2025
Review Program: Kirkus Indie
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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