A winningly thoughtful, metafictional exploration of the modern nature of Christianity.
A writer embarks on a road trip with a passenger claiming to be Jesus.
This latest novel from Merullo works from the same template as his beloved 2007 hit, Breakfast With Buddha. An author named Eddie Valpolicella (a stand-in for Merullo) picks up a hitchhiker in the spring of 2018 who’s seeking a ride to Arkansas. Eddie is headed that way as the guest of a Protestant church wanting him to give a book talk. His hitchhiker immediately tells him that he is traveling there in order to attend a talk by his favorite author, Eddie Valpolicella. Eddie instantly suspects a prank (or worse), but the man, who introduces himself as “Jesus the Christ,” convinces the author to give their shared company a try for just one day. Still, the whole project seems doomed. Eddie finds himself annoyed by the man he names “So-Called Jesus” and dumps him fairly early on—only to be reunited with the hitchhiker right away and reconciled to a long drive together. Prompted by the success of Eddie’s earlier works, the author’s agent has already urged him to do a book about meeting Jesus—but not the stereotypical Sunday school figure. “We need a new Jesus these days,” she tells Eddie. “Make him real.” This turns out to be easy for Eddie, who notices right away that So-Called Jesus isn’t always saintly. “He can’t be Jesus,” Eddie thinks, “because the real Jesus would never be so obnoxious.” What follows is a buddy/road-trip narrative that would have had Merullo burned in a public square during the first 1,900 years of Christianity.
So-Called Jesus agrees with Eddie’s agent. He wants the author to write a book about a different kind of Jesus, a work that will fill what he refers to as “the Gap” between the Gospels and the present day. Merullo is a long-standing, practiced hand at crafting narratives that are both hugely readable and genuinely thought-provoking, and the story of the growing relationship between his stand-in and So-Called Jesus makes for deeply captivating reading. The passenger consistently displays supernatural knowledge and abilities. But for a long time, Eddie is reluctant to, as he puts it, “surrender my logic and sense of normalcy” in order to accept that the hitchhiker is the real Jesus. Most of the narrative is mercifully free of the typical straw-man apologetics in favor of the “validity” of Christianity (although one of the most famous, that “even Einstein pointed to the meticulous design of everything…as evidence of some kind of Divine Intelligence,” is trotted out on cue). Instead, readers get a refreshingly complex, personal portrait of that promised “new Jesus”—wry, funny, knowing, and infinitely patient. This Jesus is less enigmatic and gnomish than Merullo’s Buddha—he’s far more of a pragmatic, working folks’ Messiah, a version very touchingly on display when the two travelers share a meal with a poor family in a West Virginia hollow. Even non-Christians will find this road trip intriguing.
A winningly thoughtful, metafictional exploration of the modern nature of Christianity.Pub Date: Aug. 13, 2021
ISBN: 978-1-73672-028-8
Page Count: 280
Publisher: PFP Publishing
Review Posted Online: Aug. 20, 2021
Kirkus Reviews Issue: Oct. 1, 2021
Review Program: Kirkus Indie
BOOK REVIEW
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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