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EXILE EXODUS

An intricate tale that presents an intriguing blend of politics, romance, and betrayal.

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Fleming’s historical novel traces Egyptian Pharaoh Akhenaten’s tumultuous reign as it coincides with the biblical exodus and the subsequent birth of Judaism.

The year is 1371 BCE, and Amenhotep IV is 10 years old. Despite the fact that he’s the youngest son of the pharaoh, children from the labor village bully him and tease him about the fact that his family worships Amen, “the hidden one who has no form.” From there, the narrative jumps forward, largely centering on the long, turbulent history of Amenhotep IV’s reign, which only comes about due to the death of his pharaoh father and the tragic drowning of his older brother, Thutmoses, during a military campaign. A thoughtful man, Amenhotep IV often struggles with issues of spirituality: “Only my thoughts of awareness have meaning. It is as if the gods are looking at the world through my eyes. Is it one god, or several gods, or is it Aten – or something else beyond my understanding, or simply a distorted illusion of my incidental soul?” He eventually concludes that Aten is the one true god—a radical departure from Egyptian polytheism. He changes his name to Akhenaten and rules Upper and Lower Egypt with his beloved wife, Nefertiti, at his side. Years later, their grown daughter, Meritaten, finds an abandoned baby, whom she takes in as her own and names Moses. Multiple storylines document the turmoil of Akhenaten’s unusual rule as political rivals plot schemes and assassinations. The events ultimately culminate in Moses’ leading the famous exodus from Egypt, resulting in a religious movement that will change the world forever.

Fleming does an admirable job of weaving together a multitude of happenings over the novel’s timespan. Readers who are unfamiliar with Egyptian history will see some familiar names pop up, such as Nefertiti and Tutankhamen. However, character names become increasingly hard to keep track of after they start to change in the middle of the narrative (Amenhotep to Akhenaten, Nebetah to Beketaten, Tutankhaten to Tutankhamen, and so on). It’s inconvenient, but Fleming does his best to make it as painless as possible by providing an extremely helpful family tree at the beginning of the novel, and by grounding the narrative in concrete historical touchstones. The dialogue flows naturally, with no attempt at old-fashioned dialect, and the author manages to keep up a brisk pace, despite dedicating a large amount of text to the ins and outs of Egyptian politics. The book even manages to branch out into thriller territory with the shocking murder of a key player. One of its most interesting aspects is Fleming’s personalization of historical events; Moses’s reluctance to accept his exile, for example, feels distinctly relatable: “‘We cannot leave Egypt. It is our home. We were born and raised here for many generations.’ Moses stood up and put his hand on his chest. ‘I was raised in the royal family of Pharaoh Tutankhamen.’” It’s this sense of humanity that carries the novel and effectively provides context to a dramatic time in history.

An intricate tale that presents an intriguing blend of politics, romance, and betrayal.

Pub Date: May 21, 2024

ISBN: 9780971567641

Page Count: 189

Publisher: Wellspring Books

Review Posted Online: Sept. 16, 2024

Kirkus Reviews Issue: Nov. 15, 2024

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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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