A joyous investment in the power of language to reveal and then transform.
A grandmother’s descent into dementia causes her genderfluid grandchild to embark on an exploration of the family tree in this prize-winning debut novel from a Swiss author.
In the Bernese German dialect, "grossmeer," or grandmother, translates literally to "large ocean," and the sense the narrator has of their own beloved but often troubling Grossmeer reflects this vast, enveloping unknowability. As Grossmeer’s condition declines, the narrator sets out to compile the stories that form the complex throughline from their cloistered childhood in the provincial Swiss city of Ostermundigen, growing up in the house their great-grandfather built with his own hands, to their current life in Zürich as a genderfluid person with an abundant sex life. But, just as they see language as "an ocean, waving and mixing, ebbing and gushing, with no clear border,” the boundaries of memory prove equally fluid. The narrator travels backward through Grossmeer’s dark fairy tales of the Ostermundigen house and garden with its towering blood beech, planted on the day of Grossmeer’s birth, and then even further back through the biographical research their witch-obsessed mother has done into the family’s forgotten matrilineage of midwives, herbalists, and prostitutes. The resulting text is nothing so simple as a record of Grossmeer’s life, or even an answer to the questions that dog her descendants’ understanding of her secretive childhood, haunted by a harsh mother, dead or disappearing sisters, and the limitations placed upon her by both poverty and her gender. Rather, the narrator interrogates the “binary-fascism” of language (spoken, written, in the gestures of the body) in order to reflect the “urgent in-betweenness” forced upon them by their fluid reality in a rigidly binary world. As the narrator says, “Perhaps writing is the search for a foreign language in the words we have available to us.” This book, which flits stylistically among heady fairy-tale iconography, a meticulously researched cultural history, and a sendup of high postmodern maximalism, among other modes, reinvents the narrative of the family drama not as a vehicle for the narrator’s identity, but as a lucent mirror held up to the possibilities of our own.
A joyous investment in the power of language to reveal and then transform.Pub Date: Aug. 26, 2025
ISBN: 9780374612375
Page Count: 336
Publisher: Farrar, Straus and Giroux
Review Posted Online: Aug. 29, 2025
Kirkus Reviews Issue: Oct. 1, 2025
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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