by Robert Inman ‧ RELEASE DATE: N/A
An emotional drama too densely packed with subplots and trauma.
A combat veteran returns home from Afghanistan haunted by his combat experience and desperate to help others in Inman’s novel.
Jonas Boulware was only 18 years old when he joined the United States Navy immediately after his mercurial father Rodney banished him from the house. When Jonas returns to his small, Southern hometown of Copernicus, he’s a 21-year-old transformed by the horrors of war. As a medic, he was shot twice and badly injured while heroically rescuing his fellow soldiers—after multiple surgeries, he lost two fingers, and will forever walk with a limp. He remembers almost none of it and takes some small measure of consolation from that fact. Before he comes home, he visits Sgt. Ray Willis, one of the Marines Jonas saved in Afghanistan, in Jacksonville, North Carolina. Ray is tortured by guilt—he blames himself for the injuries his men sustained—and commits suicide in front of Jonas, a particularly grim moment in this funereal work. Back at home, Jonas rekindles his friendship with the avuncular Doctor Frank Ainsley, the physician who delivered him when he was born and someone who has been like a surrogate father to him. Ainsley pushes Jonas to seek therapy as a means to lift the depressive fog that envelops him. But Jonas, a born caregiver, seems more interested in helping others, including his father Rodney, who is haltingly convalescing after a major stroke, and Ben Cameron, a 14-year-old boy whose home life is dangerously precarious. Even Franny, the beautiful singer looking for a break for whom he develops a deep attraction, is a damsel in distress he longs to save. However, Jonas remains dogged by nightmares and the freight of combat trauma, as well as the fallout from the troubled childhood that served as an unhappy prelude to war.
Inman thoughtfully portrays the intramural drama of a small town that’s been around long enough to have a dark history rife with secrets. (Jonas’ mother Gladys—“Sweet, quiet, uncomplaining Gladys”—suffers from “toting the great weight of family shame on her shoulders,” a burden he slowly comes to fully comprehend.) The author also poignantly depicts the ennui that often issues from trauma—the depression that expresses itself as a kind of joyless paralysis. However, the novel as a whole suffers from two serious defects: First, it is unremittingly lugubrious, too insistently (and redundantly) eager to make sure the reader understands just how unhappy Jonas is. (“Jonas started to speak, but then it hit him, a blow in the soul – the realization of just how incredibly miserable he was, and fragile, and wretchedly sad and the whole fucking screaming mess. He started to cry and didn’t make even the slightest effort to stop, the poison leaking out.”) Second, the author crams too many subplots into a novel not quite 200 pages long, and offers one too many revelatory twists at the tale’s conclusion. Despite the work’s impressive literary virtues, the reader is finally overwhelmed by these considerable vices.
An emotional drama too densely packed with subplots and trauma.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: N/A
Review Posted Online: Nov. 14, 2024
Review Program: Kirkus Indie
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by Kathryn Stockett ‧ RELEASE DATE: May 5, 2026
Fans of Stockett’s bestselling debut will love this engaging follow-up.
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New York Times Bestseller
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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by John Green ‧ RELEASE DATE: Sept. 22, 2026
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: yesterday
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