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A BOOK OF DAYS

A mesmerizing soldier’s tale, grippingly dramatic.

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In this historical novel, a Scottish soldier stationed in America meets a mysterious woman who draws him into a dark conflict with Native Americans in the 18th century.

Sara—a lonesome, peripatetic 18-year-old—finds what she’s been searching for: the military outpost where she believes her mother, Elizabeth, died. A weathered, ageless man lives there—he’s cryptically known as the Seer, a hermit with stumps in place of hands. He’s in possession of a book of which she’s heard rumors—an “orderly’s day book,” written in Gaelic by Thomas Keating, a Scottish soldier and engineer dispatched to the outpost to inspect its fortifications. The bulk of Snodgrass’ bewitching novel consists of Keating’s remarkable memoir, conveyed by the Seer to Sara in a deliciously slow march into a brutal past. When Keating comes upon the outpost, Lt. Robbie Stewart, its ranking officer, has already left with 14 of his men on a mission to help the Onagonas, an ancient tribe threatened by its neighbors for planning to leave the region. But Keating does find Elizabeth Cawley—Sara’s mother—bound to a stake, apparently by orders of Stewart, with whom she may have had a romantic relationship. Elizabeth was kidnapped by Native Americans when she was 15 years old after they killed her family, and now her true identity remains muddled, an alienation she shares with Keating: “For one thing, because neither of us belongs here. In this wilderness. Barricaded in this outpost. We were brought here to this frontier by forces totally outside of ourselves. That had nothing to do with us. You in service to your king. Me because my family looked for a new life.”

With artfully executed suspense, Snodgrass unfurls this taut knot of a story. Fearful that Stewart is in trouble, Keating and the next ranking officer, Sgt. Adam MacKenzie, plan to set out in search of him. But another soldier, referred to as Black Duncan and endowed with a kind of premonitory vision, believes danger lurks nearby. Elizabeth is an intriguingly drawn character—readers will be unsure if she is sympathetic, sinister, or some complex amalgam of both. But the author’s writing style can be ponderously leaden. For example, consider Keating’s explanation to his beloved girlfriend, Jean, as to why he feels compelled to sail to America: “ ’Tis the way [philosopher] David Hume describes it. If there can be no knowledge of anything beyond experience, then I need to seek more experience. It is a matter of honor. Of honesty with myself. I need to seek the experiences that will teach me the world is real. So I know I am real. So I know what I think and feel is real.” Nevertheless, Snodgrass does wonders with the virtue of literary restraint—why precisely the men are in such grave danger and who the Seer really is are astonishing revelations and worth suffering the sometimes-overwrought prose.

A mesmerizing soldier’s tale, grippingly dramatic.

Pub Date: N/A

ISBN: N/A

Page Count: 263

Publisher: Calling Crow Press

Review Posted Online: Oct. 1, 2020

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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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