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TALMADGE FARM

An earnest historical novel that lacks the subtlety that might have lent it more power.

In this generational drama set in the 1950s and ’60s, the moral failings of a prominent businessman in North Carolina sow the seeds of his own destruction.

Gordon Talmadge is accustomed to getting what he wants. He owns a major tobacco farm in Hobbsfield, North Carolina, and owns and operates Farmers and Merchants Bank, a business he inherited from his father, Stephen. A brash, blustery man, he’s as selfish as he is bigoted and chronically unfaithful to his wife, Claire. His son, Junior, is just as mean-spirited and self-obsessed, and although Gordon is all but oblivious to his vices, Claire is not. One evening, Junior, who’s white, attempts to rape Ella Sanders, the daughter of Black sharecropper Louis Sanders and his wife, Ivy, who works for Gordon as a cook.Ella’s brother, Jake, attempts to intervene, but it’s Ella who successfully fights Junior off, leaving him with serious injuries. Jake is terrified he’ll be blamed and leaves for Philadelphia to start a new life; later, Gordon refuses to entertain the possibility his son is at fault. Daughtry chronicles the fortunes of the Talmadge and Sanders families as the world begins to abruptly change, ushering in new mores, laws, and business practices, including desegregation. He deftly documents the pains of adjustment, especially for those who resist societal change; Gordon is shown to be constitutionally incapable of adapting to it—a limitation that ultimately leads to the demise of his commercial empire. Jake, meanwhile, embarks on a career as a medical doctor.

At the heart of the novel is a thoughtful meditation on the inexorability of change, and what happens when justice results in a redistribution of success. Also, Daughtry presents a provocative profile of nepotism in these pages; for all of Gordon’s success, it’s made clear that he was never a superior businessman whose skill brought him riches; in fact, he simply inherited a thriving empire that required very little from him to continue as it always had. Likewise, Junior is shown as being coddled and protected by Gordon, despite his horrific behavior, which results in him becoming something of a moral facsimile of his father. (It’s revealed that, like Junior, Gordon is a sexual predator.) However, the moral power of the story as a whole is undermined by its lack of nuance. Gordon’s failings, in particular, are painted with such a broad brush that he feels like a cartoon villain, and the portrayal of Jake makes him seem almost saintly at times. This feeling of absolutism gives the story a leaden quality, as there’s no doubt about whether good or evil will win out. At times, the story seems like a didactic sermon meant to edify the reader, rather than an exploration of a specific time and place with its accompanying moral questions. As a result, the novel, despite its dramatic eventfulness, feels quite unspectacular, as the reader will never find themselves wondering what will happen, or why.

An earnest historical novel that lacks the subtlety that might have lent it more power.

Pub Date: N/A

ISBN: N/A

Page Count: 358

Publisher: N/A

Review Posted Online: Feb. 5, 2024

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PARTITA

Brilliant, affecting work from one of contemporary literature’s masters.

A phone call from her past disrupts the tenuously reconstructed life of a concert pianist turned farmer’s wife.

We know from the beginning that Livia Cable is the battered survivor of her brother Cyrus’ death by suicide, a devastating romance, and a career-ending injury. Only 11 when Cyrus stepped in front of a train, she was already marked out as different in her rural Tennessee hometown by her extraordinary musical ability. The siblings had huddled together against their angry mother’s frequent beatings, and Livia still feels abandoned by Cyrus years later, when she picks up the phone to hear the voice of Sigurd, the fiery labor organizer she loved and lost to “the revolution” while on scholarship at the Indiana University School of Music. Now married to kind, steady childhood friend Charlie, Livia looks back on her affair with Sigurd as she struggles to deal with the recent death of her mother, a compulsive hoarder who left a house stuffed with junk to be disposed of and bitter memories that haven’t faded over time. Kingsolver skillfully juggles the two time frames to unravel Livia’s complicated feelings about the life she lost when her right hand was crushed and the life she has now as a country piano teacher. A partita, she explains to Sigurd early on, “is a composition made of a lot of parts with a lot of different moods…the artist’s work is to make them all add up to something that feels whole.” That’s precisely what Kingsolver does in this beautifully paced and judged narrative, which builds to revelations uncovered amid the piles of trash in Livia’s childhood home about the reasons for Cyrus’ suicide (clearly foreshadowed) and their mother’s rage (startling and heartbreaking). A fierce belief that great art is for everyone joins Kingsolver’s familiar preoccupations with class distinctions, social injustice, and the complex bonds of family and community in a tender denouement.

Brilliant, affecting work from one of contemporary literature’s masters.

Pub Date: Oct. 6, 2026

ISBN: 9780063577541

Page Count: 352

Publisher: Harper/HarperCollins

Review Posted Online: July 6, 2026

Kirkus Reviews Issue: Aug. 1, 2026

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THE CALAMITY CLUB

Fans of Stockett’s bestselling debut will love this engaging follow-up.

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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

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