An arch but nonconfrontational look at an enclave of American Christianity.
Two fundamentalist Christians endure ostracism in the name of true love.
This is a refreshingly unconventional love story between people who are not conventionally attractive. Corinne Callahan wears “plus-sizes” and “always looked bad.” Enoch Miller is described as “massive,” “a slab,” built like a door crammed into an ill-fitting suit. The horizons of these two teens are circumscribed by their evangelical church in Kansas, where women are expected to be modest but where not being pretty is more offensive than immodesty. Although women outnumber men, the men have the dominant roles as deacons and elders. Unmarried young men and women must be chaperoned at all times. The congregation, it seems, has already chosen a fiancee for Enoch, Shannon Frank, whose beauty Corinne envies. In 1992, Enoch and Corinne, both 18, transgress, and he confesses. Being “cast out” of the church enables Corinne to go to college, get out of Kansas, and achieve ad-biz stardom in Boston. Enoch, who repented, did not attend college (which the sect discourages), instead becoming an electrician. The narrative jumps ahead 13 years as her mother's health challenges draw Corinne back home to the provisional embrace of her family. After Shannon, coming out as a lesbian, divorces Enoch, his now precarious position in the church gets even worse when word of his and Corinne’s renewed relationship leaks. Unlike Corinne, entrenched in her apostasy, doggedly devout Enoch continues to attend services even while being shunned. Occasionally one wonders why, in a mobile society, these capable young adults, now 32, choose a restrictive community reminiscent of 17th-century Salem, albeit with a steady diet of high-fructose corn syrup. In one of many pungent observations, Corinne muses, “I don’t just have a scarlet letter; I have, like, a whole scarlet letterman’s jacket.” After a propulsive start, the story suffers from a lack of conflict, unrelieved by the couple’s minutely described premarital sex life, which grows a bit tedious with repetition.
An arch but nonconfrontational look at an enclave of American Christianity.Pub Date: July 12, 2022
ISBN: 978-1-2502-7999-6
Page Count: 432
Publisher: St. Martin's
Review Posted Online: April 26, 2022
Kirkus Reviews Issue: May 15, 2022
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
A classic Green portrait of young love…but here the fault is in our social media.
A relationship between young screen actors is magical, fraught, and relentlessly public in Green’s first novel for adults.
“Every movie romance needs an Obstacle, a reason the characters don’t naturally fall into each other.” In the off-screen romance between actors Juniper Castillo and Kai Laramie, the obstacle is a moving target. Juniper notices early on that as flirty and forward as Kai is, he seems “closed off to a romantic connection”; that turns out to be the tip of a very problematic iceberg. The two meet in the lobby of a Pittsburgh hotel where they will be spending the evening with Matthew Malone, the megastar playing Andy Warhol in a movie they’re about to begin shooting, Andy Warhol Never Gets Old. Kai has been cast as Andy’s intern, Juniper as a journalist who gets in over her head. This is Juniper’s first adult role after a long run as a Nickelodeon child star, and newcomer Kai’s first role of any kind. Green evokes in compelling detail all the phases and aspects of the film project, from the table read to the screening of the rough cut, from the social media fanfare to the public premiere and the press junket, moving back and forth between Juniper’s and Kai’s first-person perspectives. In a meeting with one of the ubiquitous publicists, Kai learns that somehow “the high school stuff” he never talks about—despite their growing inseparability and seemingly profound connection, he hasn’t even brought himself to share it with Juniper—has surfaced. Details emerge slowly, then blow up in the media; the book’s third act focuses on the destructive potential of celebrity culture in a climate that makes Warhol’s milieu look innocent by comparison. After a long break from writing fiction—his last two books were Everything Is Tuberculosis (2025) and The Anthropocene Reviewed (2021)—Green fills this novel with carefully observed details of Hollywood culture and characters, including running jokes about vegan cuisine, media training, and the way Kai’s agent constantly and boorishly consults his young female assistant on points of political correctness. Can he talk about “hot girls”? Can he quote T.S. Eliot? OK to say “dog vomit”?
A classic Green portrait of young love…but here the fault is in our social media.Pub Date: Sept. 22, 2026
ISBN: 9780525426073
Page Count: 304
Publisher: Dutton
Review Posted Online: Sept. 4, 2026
Kirkus Reviews Issue: Oct. 15, 2026
BOOK REVIEW
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