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THE STATES

An inventive novel about wishes and regret.

A woman turns to dreams to relive her life differently in Woodsey’s speculative novel.

Tildy Sullivan is the middle daughter of a wealthy New York family in decline. Her father, the third-generation scion of a cosmetics empire, is on the verge of bankruptcy. Her two sisters are shallow and oblivious sponges. Her data scientist mother is dead, having left Tildy an AI assistant named Russell and her stock in the family company. Tildy has followed in her mother’s footsteps—she, too, works in data science, and she lives in the dead woman’s apartment. Tildy is single and still pining over Aidan, the man she loved and lost eight years prior during a sojourn in the family’s ancestral home of Ireland. One day, Tildy notices an online ad requesting participants for a lucid-dreaming study. She leaps at the opportunity, seeing it as a chance to reunite with Aidan in her dreamworld: “It could be like time travel,” she thinks, “only better—there [are] no consequences, no social cost. What if her days of failure with her family, the monotony at work, and the regret in her peaceful moments [are] only half her life? What if, at night, she could go to Ireland and do all that she wished, without having to face who she had been, or who she had become?” She soon finds herself in Dream Galway, working as an instructor at the local university, spending time with her Nana at the family cottage, and rekindling her love for Aidan. As Tildy tries to relive happier times in the dream world, her father pursues his interest in selling the family’s land in Galway to make some cash, and Aidan is now a chef with his own famous restaurant. Can Tildy find the satisfaction she desires in her lucid dreams? More importantly, can she translate it to waking life?

Woodsey’s prose is oneiric even in the novel’s waking portions. The lucid dreams are elegantly rendered, as here, when Tildy returns to Galway in her sleep: “The cool air tumbled to her, ripe with the familiar tang of coastal plants and the open sea. She looked around, her eyes watering. It felt like more than a dream here, more even than reality. Like she had voyaged into the heart of the ache she carried within her.” The premise is an intriguing one, and the hard-edged satire with which Woodsey handles Tildy’s family and life in New York is a treat. The scenes (both dreamed and real) set in the Emerald Isle are portrayed with the gauzy sentimentality Irish Americans often adopt with regard to the west of Ireland; Woodsey seems to be commenting on this sort of escapist fetishization, but the satire here is subtler. The supporting characters are sometimes thinly drawn, and the book has occasional pacing issues. Despite these minor flaws, however, the novel casts a definite spell over the reader, who can’t help but be drawn into Tildy’s fantasies. It’s a triple escape, after all: into a dream, over the sea, to the arms of a lost love.

An inventive novel about wishes and regret.

Pub Date: April 30, 2024

ISBN: N/A

Page Count: -

Publisher: Self

Review Posted Online: Jan. 17, 2024

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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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