Ambitious, inventive, and aggressively repellent.
The author of the story collection Reptile House (2015) explores human vengeance and deep time in her first novel.
“Once, here, on this high plain, there were only Horse, Bear, Rhino. No words to put to things, no call to put them. But today? Ginny and Dan in the barn, and words like this: ‘You fucked me over. You fuckin’ fucked me over.’ " Ginny and Dan are trying to help a mare give birth to a foal that’s too big for her while they argue about the fact that Ginny has been unfaithful to Dan. The opening passage begins with an observation that encompasses the vast sweep of life on this planet and then zooms in on a contemporary scene that’s obscene, filthy, and brutal. This is a pretty good preview of what’s to come. Ginny and Dan will take increasingly elaborate measures to help their horse survive giving birth. Their community assembles to help them. The gathering turns into a party, and any sense that this is mutual aid—rather than the desire to treat suffering as entertainment—quickly dissipates. Rescuing a mare in distress is simply the excuse that brings together people eager to punish a woman who has transgressed. While it would be a mistake to call this novel a Western, it most definitely engages with ideas about the American West. McLean is innovative in reminding us that humans and other animals inhabit a landscape that other animals occupied first. The meanings we impose are, from the vantage point of life on Earth, neither inevitable nor universal. She is, however, hardly new in interrogating cowboy mythology, and it’s hard to not see some of her choices as redundant. It’s clear, for example, that her use of the word Indian conveys a perspective and that her characters’ conversations about Indigenous people tell us something about them. But there’s a point at which an omniscient narrator that’s casually racist becomes a slap in the face. And readers will have to decide for themselves if they want to know what comes next in a novel that spends its first 65 pages recounting the ugly details of a single night that ends with a woman being gang-raped and thrown into a pit filled with lime on top of a stillborn foal.
Ambitious, inventive, and aggressively repellent.Pub Date: Nov. 2, 2021
ISBN: 978-1-913505-14-1
Page Count: 328
Publisher: And Other Stories
Review Posted Online: Aug. 17, 2021
Kirkus Reviews Issue: Sept. 1, 2021
BOOK REVIEW
BOOK REVIEW
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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