Complex characters propel this diverting vampire tale.
In this darkly comic novel, a vampire’s chance to become mortal again requires tracking down all the people she turned into the undead.
As a vampire, Texan Veronica Bouchard keeps a low profile. She’s a hospice nurse who typically feeds on terminally ill patients. But when there’s a chance authorities will link her to two recent deaths, Veronica flies to California to see her daughter, Ingrid. As she was the one who turned her mother into a vampire in the 1800s, Ingrid apologizes to Veronica. Not only does this make Ingrid mortal, the act also returns Veronica’s soul. For the first time in over a century, Veronica can see her reflection. She can be mortal, too, but she will have to make amends to everyone she turned into a vampire. She’s more than willing to do this. At the perpetual age of 51, Veronica endures never-ending menopause. She consequently takes a road trip, bringing along her new friend Jenny Pearson, a struggling addict who discovers what Veronica is. Veronica’s vampire victims are a motley assortment, some more dangerous than others. And the possibility of arrest back in Texas isn’t even Veronica’s biggest threat: Jenny’s politician father puts someone on his daughter’s trail. Skjolsvik’s fanged hero is profoundly complicated. For example, Veronica has an aversion to men who hurt women, but she has killed many people, and not all of them were hospice patients. This novel’s vivid journey is a learning experience for her. She acknowledges some of her flaws and realizes certain vampire fundamentals, like things that can kill the undead, are simply untrue. Jenny is a strong supporting character, earning Veronica’s sympathy (the vampire regularly attends Alcoholics Anonymous meetings to help control her own addiction). Jenny’s hemochromatosis tempts Veronica with delicious, iron-rich blood. And much of the catchy, often humorous dialogue involves Jenny, whose incessant insults—douchebag is an unquestionable favorite—are especially entertaining.
Complex characters propel this diverting vampire tale. (acknowledgements)Pub Date: Nov. 5, 2020
ISBN: 978-1-945419-62-1
Page Count: 356
Publisher: Fawkes Press
Review Posted Online: Aug. 17, 2020
Kirkus Reviews Issue: Nov. 1, 2020
Review Program: Kirkus Indie
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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