A searing but sensitive look at recovery from irreversible harm.
In Van Hecke’s debut novel, a mother and daughter’s relationship is affected by repressed trauma and subsequent guilt.
The storyalternates between the lives of Colleen,a happily married mother of two, and Rachel, Colleen’s eldest daughter in her first year at Lakeview College.As the novel opens, Colleen; her husband, Derek; and their youngest daughter, Izzy, are driving to Rachel’s cello concert. They seem like a family with typical woes: Derek travels often for work, and his business requires the family to move from Chicago to Arizona and back again within a year—much to Colleen’s chagrin. In college, Rachel tries to gain some independence from her parents by getting an apartment with her best friend, Mandy; she also takes a class on the intersection of gender and violence. As she writes a research paper on the sexual abuse of children, she begins to uncover buried memories of her own sexual abuse by her father. After Rachel tells Colleen what happened to her, many years ago, they’re forced to contend with the damage that Derek has caused. Van Hecke’s novel walks a delicate line, initially depicting Derek as a sympathetic character before candidly exploring the results of his horrific behavior. For much of the novel, Colleen actually attempts to salvage her relationship with Derek and to get Rachel to do the same; however, the memories of her father’s abuse affect all aspects of Rachel’s life, including a burgeoning romantic relationship with a boy in her class. Van Hecke’s prose is most powerful when it describes Rachel’s emotional and physical trauma, and it deftly captures the dissociation that comes with post-traumatic stress disorder; for example, when the young woman’s memories surface, Van Hecke writes, “It was more like her fingers themselves remembered…raking across that couch arm.” During a particularly emotionally fraught confrontation between Colleen and Rachel, Rachel slams a door that’s said to be “like an open, screaming mouth.” In sentences such as these, the ramifications of Derek’s abuse strongly reverberate.
A searing but sensitive look at recovery from irreversible harm.Pub Date: Oct. 15, 2020
ISBN: N/A
Page Count: 384
Publisher: Self
Review Posted Online: June 25, 2020
Review Program: Kirkus Indie
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
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
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