A vivid portrayal of the raging passions and ideals that fomented the French Revolution.
The second volume of Flinn’s trilogy, which imagines the life of servant turned French revolutionary Louis-Benoit Zamor.
Zamor, a Black Indian from Bengal, was born into poverty and as a child was sold by his mother to a slave trader. When he was 10 years old, he was purchased by France’s King Louis XV and given as a gift to his favorite mistress, Jeanne du Barry. At the Palace of Versailles, du Barry delights in her gift: Louis-Benoit is the little boy she and the king have never had. As Book Two opens, Zamor is a grown man, albeit still physically small in stature. It is the revolutionary year of 1789, and discontent is building among the French populace. Louis XV has died, and Louis XVI and his Austrian wife, Queen Marie Antoinette, now head the monarchy. Du Barry now resides in the Chateau de Louveciennes, where she entertains lesser royals; Zamor serves as her trusted page and confidant, accustomed to royal luxuries but denied the one thing he desires most: his emancipation. He convinces du Barry to allow him to visit Paris in the evenings, and there he becomes acquainted with members of the Jacobin Club, a group of enlightened thinkers who strive to make France a constitutional monarchy. As Zamor becomes more enmeshed with the Jacobins, he begins writing his own treatises. For most of the novel, through intermittent inserts presented as journal entries written in 1820, Zamor relates his tale in the past tense, immersing readers in the hopes, dreams, and brutality of the French Revolution. The story has some notably ironic moments, as when the king approves a more efficient method of execution—the guillotine—the very mechanism by which he will meet his own demise. Zamor himself is a complex character, equal parts philosopher and damaged soul. Flinn’s eloquent, historically astute prose combines the visceral horror of the revolution with tender sections, most of which are devoted to Zamor’s deep love for the seamstress Véronique.
A vivid portrayal of the raging passions and ideals that fomented the French Revolution.Pub Date: June 15, 2024
ISBN: 9798986060071
Page Count: 442
Publisher: Self
Review Posted Online: June 7, 2024
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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