This beautifully assured novel interweaves the ghostly and the historical until both feel simultaneously real and imagined.
A tense, atmospheric gothic thriller set in an indeterminate city centers on two women, a Muslim servant and her British employer, in the aftermath of World War I.
When Soraya Matas secures a place with Mrs. Alice Hattingh of 23 Heron Place, she feels fortunate, especially after leaving her previous employment with the Edenburgs due to the husband’s unwelcome advances. Soraya’s family, including several younger siblings and parents who depend on her income, lives in the Quarter—a crowded and underserved area of a city that resembles Cape Town, South Africa. Like their neighbors, Soraya’s family follows a faith different from their colonizers; her father is a calligrapher who specializes in the rakams, or handwritten prayers that grace local homes. Mrs. Hattingh lets Soraya know of her prejudices, asking if the young woman can crochet: “I’m sure you have your people’s nimble fingers.” Soon after Soraya enters the room in which she’ll sleep, she knows that it’s haunted by a Gray Woman, a specter filled with rage and disappointment that she’s been able to see since childhood; in this case, she’s convinced it’s her unfortunate predecessor, Fatima. Although she finds her work dull and repetitive, Soraya initially enjoys the relative peace of Heron Place, especially as she’s able to return home once a fortnight. But Mrs. Hattingh grows peevish when she anticipates her son Timothy’s visit from England and orders Soraya to stay put. As a sop, she dangles the promise of writing letters to her servant’s betrothed, Nour, who is working on a farm in order to save money for teacher’s college. Both women are holding back information, which makes for a perfect storm of fury—yet there is no question that Alice Hattingh’s sins are greater and more destructive, even if driven by tragedy. This novel will remind readers that our world has been interconnected for a long time, and that the powerful affect those less so, even when there are oceans between them.
This beautifully assured novel interweaves the ghostly and the historical until both feel simultaneously real and imagined.Pub Date: Dec. 9, 2025
ISBN: 9781668090732
Page Count: 240
Publisher: Simon & Schuster
Review Posted Online: Sept. 27, 2025
Kirkus Reviews Issue: Nov. 1, 2025
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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