A rollicking satire of contemporary motherhood with a speculative twist.
In Imas’ debut novel, a mother of three discovers her animalistic side.
In Straussville, Oregon, motherhood is turning Harriet “Harry” Lime into a monster—literally. She lives with her husband, Theo, with whom she rarely gets to speak or have sex, a 14-year-old daughter who is turning into a woman faster than Harry can handle, and a pair of 3-year-old twins whose potty training ensures the house always smells faintly of urine. In addition to her familial obligations, she has a “pay the bills” job (rather than a career) in marketing, a walking club, and a book club. Plus, there are regular PTA meetings, which have lately been dominated by discussions concerning an expensive statue dedicated to the mothers of Straussville (and designed in secret by PTA president Patrick Terrence, a grandfather whom Harry has hated since he taught her in high school). When Harry gets an early peek at the underwhelming sculpture—which Terrence has drained money from after-school programs to fund—Harry goes into literal beast mode. She transforms into a massive, apelike animal, uproots the offending statue, and drags it into the Straussville Reservoir. Harry wakes up in the reservoir with no memory of what’s happened, though she can’t shake the feeling she’s responsible for the damage. “[A] single idea came forward and stood apart from it all,” she thinks. “Maybe I hadn’t laid waste to the schoolyard, the old fountain, and the statue. Maybe some giant…creature had done it. And maybe that giant creature had come out of me.” Plenty of neighbors witness the horror, but luckily no one can tie the creature back to her—at least not yet. There are strange uniformed men in town, however, who may be on her trail. What’s more, Harry may not be the only one who is turning into something monstrous.
The novel is driven by Harry’s garrulous narration, which vividly fleshes out her world with descriptions, observations, jokes, and even footnotes. She’s a thoroughly believable suburban mom who balances her sincerity and progressive values with her sometimes-cringey mom humor. Here she praises another mom in the PTA: “She had an autoimmune disorder, I knew, and had gone back to work just weeks after adopting baby Ella. It was the kind of feat that Hercules himself would’ve taken one look at and said, ‘Nah, I’m good.’ ” Here she regrets not helping out another mom who was treated poorly by Terrence: “This didn’t just feel like a Mom-Fail but a Woman-Fail, and in my mind at least, a Friend-Fail too.” That Harry is sometimes hard to take does not make her any less of an achievement. Imas pairs a brilliant premise with a highly memorable narrator, and together they should find a wide readership. The characters are finely drawn, and the speculative aspects of the book are handled quite masterfully. The book takes on not only the hypocrisies of the impossible standards to which mothers are held in America, but also the discourse surrounding those hypocrisies.
A rollicking satire of contemporary motherhood with a speculative twist.Pub Date: Aug. 29, 2023
ISBN: 9798988246404
Page Count: 352
Publisher: Mudlark
Review Posted Online: July 13, 2023
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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