A sensory journey that starts on front porches and goes on to encompass galaxies.
A collection of poems that situates ordinary gestures in the vastness of time and space, where the body, nature, and the cosmos intersect.
Denby’s poems almost always begin at ground level—with a crosswalk in “A Man Yawning,” a kitchen more grown than built in “A Poet Going Blind,” or a poolside bench in “One Street in This Planet Neighborhood.” Descriptions of these everyday settings then spiral out into larger meditations on time and space. Rather than getting lost in airy metaphysics, the poems instead favor a sinewy, tactile lyricism, best illustrated in “Ribbed Cages,” in which Vermonters carry “pines in their spines” and “Petunias blush hemoglobin, marigolds no longer move. / Bones grow there—stone bones, // radish bones, wheat bones, and dogs have begun to sprout.” Denby splits the collection into three sections in which thematic iterations of water and music recur as metaphors for the cords binding people to others around them and the vastness of the natural world. The third section takes these connections even farther, reaching out into something that can only be described as galactic in scope. Even in these verses, Denby never loses earthbound details, and the poems employ a gentle humor and a willingness to play with language that borders on punning. The author evinces an innate kindness toward all the works’ subjects, from a child’s understanding of the importance of a bee to a pair of twin sisters’ harmless yet fascinating disagreement about their mother’s last moments. Denby’s collection is a stirring example of Gaston Bachelard’s concept of intimate immensity, in which instructions for facing down a coyote or observations about the ways shadows play while writing can open a door to temporal or cosmic reflection. Occasionally, the collection suggests naivete, as in a flight of fancy about George Washington reincarnating in the present day and obsessing over groceries—a poem that lacks satisfying context. Fans of poets like Mary Oliver will appreciate the work’s immersive contemplative quality and the way the poet reliably pulls readers back to the physical realm, always returning to tactile sensations and experiences.
A sensory journey that starts on front porches and goes on to encompass galaxies.Pub Date: May 15, 2025
ISBN: 9781639809998
Page Count: 90
Publisher: Kelsay Books
Review Posted Online: Oct. 2, 2025
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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