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LOVE AND OTHER ILLUSIONS

An intricate but uneven romance.

A writer enters therapy but struggles to confront her past in this novel.  

Forty-four-year-old Jillian Barrister is a divorced woman who has recently remarried. Her new husband, Clay, a trial lawyer, is passionate and appears to adore her, but there is an unspoken rift between them. As Jillian’s closest confidante, Hope, concedes, “It was impossible to mate a hawk to a dragonfly and have things turn out well.” Meanwhile, David, Jillian’s ex-husband, remains attached to her, despite having been unfaithful, which in turn affects his own relationships. Jillian is attempting to come to terms with the breakup along with pain in her more distant past. Writing is part of her therapy, and she decides that her second novel with be based on her experiences with Clay, David, and her psychoanalyst, Dr. Gordon Allison. Jillian has started seeing Allison four times a week and their sessions prove far from conventional. The spirited novelist is keen on learning more about her therapist and presses him with awkward questions while deflecting opportunities to open up about her own childhood. Finally, a breakthrough is made, which leads to startling revelations. Clay’s own insecurities are also beginning to surface, as he grows increasingly suspicious of David. A crisis leads Jillian to flee to India, where she seeks to gain a deeper sense of self-understanding and reflect on the actions of those closest to her.  

Robinson’s novel is ambitiously multifaceted in its aim to consider Jillian and her actions from a variety of perspectives. Clay’s brother remarks: “She’s untamed like a child, little brother. Restless like a child.” But the inclusion of Jillian’s correspondence with Hope paints the protagonist as strong and determined yet fragile. The result is that Jillian is shaped into a psychologically believable and complex principal character. Still, although the novel is intended to have a mildly erotic undertow, the author often crafts peculiarly unsexy turns of phrase, including this description of Clay and Jillian: “He’ll make love to her until everything is emptied out of her but sleep.” The dialogue is also frequently pretentious and contrived (Jillian: “Does the hunter complain of the hunt? The hunt is what you live for.” Clay: “You’re dissembling. Beating around the bush. Not telling me what I want to know”). Robinson includes quotes from Goethe and Nietzsche, among others, and Jillian speaks of her hopes of writing the “great American novel.” There is a sense that Robinson wishes to catapult this romance novel to the heights of highbrow literature. Yet despite some imaginative deviations, this book never reaches that level, often falling into romantic clichés, as when David declares to Jillian in a letter: “I think of you. I love you. I hold no one above you”—words dully reminiscent of Van Morrison’s ballad “Have I Told You Lately.” The portrayal of India as a space where Westerners go to heal is a stereotype, and is suggestive of an author struggling to tie up the complexities of a story at its denouement. Lovers of romantic fiction will enjoy this turbulent tale, but the book does not quite fulfill its intentions to deliver something more.

An intricate but uneven romance.

Pub Date: Dec. 15, 2009

ISBN: 978-1-883911-91-1

Page Count: 218

Publisher: Brandylane Publishers, Inc.

Review Posted Online: April 25, 2022

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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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WHISTLER

An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.

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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

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