A humane vision of people and their stories traveling, learning, sometimes suffering, and always changing.


An elegantly written, wryly affectionate mashup of Jane Austen and the Japanese immigrant experience.

Yamashita, author of the brilliant experimental novel I Hotel (2010), here delivers a book of stories in many voices. The first set is told, usually matter-of-factly, by sansei, third-generation Japanese Americans who often have only tenuous connections with the mother country. In the first, a sansei visits Kyoto, “cold with a barren sense of an old winter,” and there becomes part of a story within a story that revolves around bathing—but with many twists and turns, involving people made slow by old age, captured by terrorists, and lashed by typhoons, and all in the space of 17 pages. The closing line is a droll, note-perfect commentary on what has happened before. A more straightforward story, punctuated by haunting photographs from the early years of the last century, turns on certain differences between the descendants of Japanese immigrants to the U.S. and to Brazil (“What was a sansei? I was a figment of their imaginations”) but closes with the gently perceptive reminder that while it is winter where the narrator lives, north of the Equator, it is summer to the south. The second set of stories brings Jane Austen into the picture, she serving as the putative author of a book of stories whose characters “represent the minutiae of sansei life as it once existed in a small provincial island in an armpit of postwar sunshine.” Those stories share the once-upon-a-time incantation “mukashi, mukashi,” but they’re altogether modern, with Regency carriages giving way to gold Mercedes sedans and Fitzwilliam Darcy taking the form of one Darcy Kabuto II, football hero, class vice president, and best-looking member of his class, “which meant he looked like he was the son of Toshiro Mifune.” Yamashita’s reimagining of Austen is sympathetic and funny—and as on target as the movie Clueless.

A humane vision of people and their stories traveling, learning, sometimes suffering, and always changing.

Pub Date: May 5, 2020

ISBN: 978-1-56689-578-1

Page Count: 232

Publisher: Coffee House

Review Posted Online: March 2, 2020

Kirkus Reviews Issue: March 15, 2020

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A whimsical fantasy about learning what’s important in life.


An unhappy woman who tries to commit suicide finds herself in a mysterious library that allows her to explore new lives.

How far would you go to address every regret you ever had? That’s the question at the heart of Haig’s latest novel, which imagines the plane between life and death as a vast library filled with books detailing every existence a person could have. Thrust into this mysterious way station is Nora Seed, a depressed and desperate woman estranged from her family and friends. Nora has just lost her job, and her cat is dead. Believing she has no reason to go on, she writes a farewell note and takes an overdose of antidepressants. But instead of waking up in heaven, hell, or eternal nothingness, she finds herself in a library filled with books that offer her a chance to experience an infinite number of new lives. Guided by Mrs. Elm, her former school librarian, she can pull a book from the shelf and enter a new existence—as a country pub owner with her ex-boyfriend, as a researcher on an Arctic island, as a rock star singing in stadiums full of screaming fans. But how will she know which life will make her happy? This book isn't heavy on hows; you won’t need an advanced degree in quantum physics or string theory to follow its simple yet fantastical logic. Predicting the path Nora will ultimately choose isn’t difficult, either. Haig treats the subject of suicide with a light touch, and the book’s playful tone will be welcome to readers who like their fantasies sweet if a little too forgettable.

A whimsical fantasy about learning what’s important in life.

Pub Date: Sept. 29, 2020

ISBN: 978-0-52-555947-4

Page Count: 336

Publisher: Viking

Review Posted Online: July 14, 2020

Kirkus Reviews Issue: Aug. 1, 2020

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A compelling portrait of a marriage gone desperately sour.


In December 1926, mystery writer Agatha Christie really did disappear for 11 days. Was it a hoax? Or did her husband resort to foul play?

When Agatha meets Archie on a dance floor in 1912, the obscure yet handsome pilot quickly sweeps her off her feet with his daring. Archie seems smitten with her. Defying her family’s expectations, Agatha consents to marry Archie rather than her intended, the reliable yet boring Reggie Lucy. Although the war keeps them apart, straining their early marriage, Agatha finds meaningful work as a nurse and dispensary assistant, jobs that teach her a lot about poisons, knowledge that helps shape her early short stories and novels. While Agatha’s career flourishes after the war, Archie suffers setback after setback. Determined to keep her man happy, Agatha finds herself cooking elaborate meals, squelching her natural affections for their daughter (after all, Archie must always feel like the most important person in her life), and downplaying her own troubles, including her grief over her mother's death. Nonetheless, Archie grows increasingly morose. In fact, he is away from home the day Agatha disappears. By the time Detective Chief Constable Kenward arrives, Agatha has already been missing for a day. After discovering—and burning—a mysterious letter from Agatha, Archie is less than eager to help the police. His reluctance and arrogance work against him, and soon the police, the newspapers, the Christies’ staff, and even his daughter’s classmates suspect him of harming his wife. Benedict concocts a worthy mystery of her own, as chapters alternate between Archie’s negotiation of the investigation and Agatha’s recounting of their relationship. She keeps the reader guessing: Which narrator is reliable? Who is the real villain?

A compelling portrait of a marriage gone desperately sour.

Pub Date: Dec. 29, 2020


Page Count: 288

Publisher: Sourcebooks Landmark

Review Posted Online: Sept. 30, 2020

Kirkus Reviews Issue: Oct. 15, 2020

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