Spec Fic at its best: accessible and inventive, while remaining thoroughly extraordinary.
An engaging collection of 100-word stories accompanied by petroglyphic images.
Bantock tells us in his introduction that the box containing these 100 stories, each 100 words long, and a group of petroglyphic images was “reportedly found in an attic, in North London” and sent to him by the bemused homeowner. The stories have no known author or key to their enigmatic content and images, so Bantock decides to publish them, hoping a reader can solve the puzzle posed in a note found in the box with the manuscript. It seems the idea is to find one word from each tale that will then create a final, 100-word story that belongs to the reader themselves. The whimsical, often humorous, tales are a mixture of SF, fantasy, mild horror, historical, mythological, and/or paranormal fiction, as well as simple vignettes of relatable lives. A woman trying on lingerie receives a tattoo from a passing jellyfish. A man places stars in space using his cabinet of curiosities. Angels are captured and bottled to make quality perfume. A group of 1903 settlers find a crashed starship. God’s Uncle Albert once thought about creating sentient life, but eventually decided it was a bad idea. There are beach-going ghosts, an orangutan pilot from WWII, surrealists playing chess, and a girl who starts chewing her nails and can’t stop until she’s eaten herself. A woman cleverly thwarts a misogynistic tailgater trying to intimidate her. An accountant escapes the Great War via embezzlement. A court jester sacrifices himself for his beloved queen. A small clown appears in a fish tank. The Sandman, Leda and the Swan, and the infamous cat Pangur Ban make appearances. With each turn of the page, one never quite knows what to expect. The mischievous illustrations, saturated with color, only hint at something recognizable, usually a bit of an animal or plant. Even if the puzzle remains unsolved, readers will find themselves delighted, intrigued, and often moved by the love, pain, and wonder of these finely written drabbles.
Spec Fic at its best: accessible and inventive, while remaining thoroughly extraordinary.Pub Date: Nov. 7, 2023
ISBN: 9781616964078
Page Count: 216
Publisher: Tachyon
Review Posted Online: Sept. 9, 2023
Kirkus Reviews Issue: Oct. 1, 2023
BOOK REVIEW
BOOK REVIEW
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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