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MONSTERS IN MY MIND

A tale with an intriguing setup that doesn’t fulfill its promise.

A group of people must contend with their inner demons as they navigate trauma in Oliveri’s novel.

Oliveri’s story, told through multiple characters’ perspectives, focuses on their negative inner voices: the “monsters” that fill them with self-doubt, prey on their insecurities, or convince them to act poorly—and effectively turn them into the worst possible versions of themselves. Michael Conifer is the new kid in a suburban Colorado high school; he’s a bit nerdy, and he’s at war with an inner monster named Beel, who makes him believe that he has little value as a person. Michael has a crush on Rachel Kalopoulos, a girl who spends most of her time smoking cannabis and avoiding her father, John, a wealthy cannabis grower and seller; he’s in talks to work with Lorne Conifer, Michael’s father, who’s running for mayor. Lorne is portrayed as a truly vile person whose inner voice, Carmen, gives him permission to be absolutely awful to everyone, particularly his wife, Michelle. What Lorne doesn’t know, however, is that Michelle’s unnamed inner voice has been making plans to kill him. The conflicts all come to a head after Michael tries to smoke cannabis for the first time with Rachel. When Lorne learns that his son has tried drugs, he flies into a violent rage. Later, while Michael is at the Greenwood Center—a rehabilitation facility where he was sent as a punishment—Michelle calls him to tell him some shocking, life-altering news, which later yields other surprising plot developments.

Oliveri’s tale is an ambitious one, making a bold attempt to present an examination of how inner voices can cause people to go down harmful paths. Although the overall premise of the novel is compelling, the author’s execution works against it. The inclusion of multiple characters’ points of view highlights the many different ways that inner voices can affect people, but having so many disparate perspectives makes the work feel cluttered; for example, Ms. Shelgren, Michael’s math teacher, doesn’t have a compelling arc and does little to serve or progress the story. Also, because each of the main players is essentially dealing with a similar issue—a negative and ultimately unhelpful force that keeps them from being kind, moral, or brave—the prose inevitably begins to feel repetitive. Oliveri’s plot is strongest when it emphasizes the characters’ emotional states, as in its portrayal of Rachel’s strained relationship with her father or Michael’s examination of his own trauma: “They were permacuts—paper-thin incisions that I felt deeply every time he [Lorne] ignored me, traded me in, left me out.” Yet even in these moments, useful exposition is often set aside in favor of quips from inner voices. Though the chapters from the perspective of “the monster” are meant to be menacing—particularly when the all-knowing being addresses the reader directly—they often come off as overwrought and repetitive. Oliveri’s story is certainly enthusiastic in its telling. However, it could have used some fine-tuning to make it more consistently engaging.

A tale with an intriguing setup that doesn’t fulfill its promise.

Pub Date: March 1, 2023

ISBN: 9781088108420

Page Count: 380

Publisher: Self

Review Posted Online: May 1, 2023

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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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