A fascinating portrait of a woman torn between her single-minded artistic ambition and her yearning for love.
In a novel inspired by the life of the artist Agnes Martin, Foley invents a fictional scenario while capturing Martin’s emotional essence.
The outer contours of Agatha Smithson’s life resemble Martin’s—early artistic success in New York City, a stay at Bellevue Hospital after a psychotic break, a university teaching stint in Albuquerque, a secluded hand-built cabin, complicated friendships with Georgia O’Keeffe and others, a return to painting, an uncloseted lesbian identity. When the novel begins in 1971, 68-year-old Agatha is living, as Martin did, in Mesa Portales, New Mexico, but fiction takes over as Agatha narrates a romantic drama involving her with a variety of local characters, some imagined, others amalgams of real figures in Martin’s life. Agatha’s attention is currently consumed by the intense love affair she has been carrying on with local widow Alice for four years. She indignantly, perhaps defensively, claims that Alice remains “whole in her mind,” despite what others consider Alice’s increasing dementia. Rejecting the decision of Alice’s son to put her in a facility, Agatha acts to relocate Alice from her small house in town to Agatha’s unplumbed, unelectrified cabin. Agatha even digs up the grave of Alice’s daughter, who was tragically murdered at age 21, to keep her body near Alice. But readers will notice early on that whenever anyone comes looking for Alice, Agatha explains that she is “on a walk,” and so conveniently unavailable. That Agatha is not merely an unreliable narrator but an irrational one becomes increasingly clear. Then, midway through the book, Agatha begins to grapple with difficult truths that begin to reveal themselves both to her and the reader. Despite exaggerated, almost silly plotting, a rich portrayal emerges on multiple layers: the self-centered, prickly but gifted artist, the woman fighting the realities both of mental illness and aging, the derider of sentiment who desperately wants, and often makes, deep and lasting connections with others.
A fascinating portrait of a woman torn between her single-minded artistic ambition and her yearning for love.Pub Date: March 17, 2026
ISBN: 9781668098578
Page Count: 256
Publisher: Avid Reader Press
Review Posted Online: Dec. 26, 2025
Kirkus Reviews Issue: Feb. 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
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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