A rich Southern story that deftly addresses themes of identity and reconciliation.
In Cantarutti’s novel, a woman is forced to confront her past when she returns to her small hometown of Clarksville, South Carolina.
After years of building an independent life in San Francisco, Louise “Lou” DuPree finds herself back in the place she once fled. Her return is spurred by the death of her father, a revered but complicated figure in her life, whose legacy—both personal and financial—casts a long shadow. “Your daddy was a good man, a ‘man’s man’ who lived to work the land, hunt, fish, take care of his family, and those beholden to him,” says a woman who loved him deeply, and Lou can’t shake the feeling that there’s more to his story. Evelyn, her manipulative mother, tries to exert control with judgments and guilt trips. Their interactions hum with tension, as when Evelyn offhandedly criticizes Lou’s appearance: “You got those long shapely legs from me, Louise. Your square chin came from the DuPree side, but there’s no mistaking the legs.” Meanwhile, Lou’s estranged brother, Will, Jr., now heir to the family land, becomes entangled in local politics, aligning himself with a shady development project promising to bring prosperity to Clarksville. Lou also faces an unexpected personal challenge when her former high school sweetheart, Charlie Cooper, reaches out to her. Their reunion stirs long-dormant emotions as Lou tries to reconcile her past with the person she’s become. Over the course of the novel, Cantarutti’s prose is richly atmospheric, capturing the heavy, humid air of the South and the weight of generational ties. As Lou navigates these emotional minefields, the town itself effectively becomes a character—its old diner, boarded-up storefronts, and whispered secrets painting a portrait of a place clinging to its identity, even as it’s forced to evolve. Throughout, the novel excels in its deeply felt exploration of the concept of home—not just as a physical place, but as an emotional milieu where love and resentment intertwine.
A rich Southern story that deftly addresses themes of identity and reconciliation.Pub Date: Nov. 1, 2024
ISBN: 9798341350458
Page Count: 243
Publisher: N/A
Review Posted Online: April 5, 2025
Kirkus Reviews Issue: May 15, 2025
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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