Wittily observant and achingly tender.
A coming-of-age story about an Indian American girl struggling to figure out many things about herself, such as whether she and her sister should kill a relative.
It’s the summer of 1986, dead solid center in the middle of the Reagan decade, and sisters Georgette Ayyar and Agatha Krishna Creel are trying to make the best they can of awkward pre-adolescence in the oil town of Marley, Wyoming. They are daughters of Indian parents, Girl Scouts, Catholic school students, and named after their mother’s favorite authors—Heyer and Christie, respectively. “We were named after proper white ladies, even if we ourselves were never proper anything,” Georgie recalls. They are taken aback when their placid lives are disrupted by the arrival from India of their mother’s brother, Vinny, his wife, Devi, and their son, Narayan, who are all moving into their Cottonwood Cross home to stay. “Vinny Uncle made us shadow people,” Georgie says. And it is for the reason of feeling somehow split in two (“like freeze tag,” Georgie argues) that she and Agatha decide that Vinny Uncle must die. Their method: sneaking small amounts of antifreeze into his drinks. “Bright Mountain Dew in big cups,” Georgie recounts. “It was surprisingly easy to make him sick.” As her uncle gets gradually sicker, Georgie attends summer camp, watches the wedding of Prince Charles and Lady Diana, takes part in the local county fair and Fashion Revue, and waits for something to happen. Along the way, the narrative takes sardonic divergences, mostly in the form of multiple-choice romance questionnaires like the kind found in magazines. Examples: “How Do You Know If You’re Ready To Have a Sexual Relationship?”; “Is He Bad for You?” and, even, “Do You Have What It Takes To Kill?” Which is something Georgie finds herself asking, even as she and her sister are carrying out this inexplicable mission, for which they blame, among other things, British colonialism. Though framed like a funny, ferociously allusive grown-up version of a YA whodunit, McConigley’s debut novel carries deeper, knottier mysteries than the curious crime at its center.
Wittily observant and achingly tender.Pub Date: Jan. 20, 2026
ISBN: 9780593702246
Page Count: 224
Publisher: Pantheon
Review Posted Online: Oct. 25, 2025
Kirkus Reviews Issue: Dec. 1, 2025
PERSPECTIVES
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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