Two stories juxtaposing the lives of a mother and daughter across two cultures; the former leaves a bigger impression.
A recent college graduate struggles to reconcile her Iranian Muslim heritage and immigrant family dynamics with her British life and boyfriend.
Soraya Nazari doesn’t know what she wants. Her family wants her to be a good Muslim girl, but her father and siblings aren’t good models, her scientist mother complains about her husband but wants her daughters to fit into old molds, and Soraya herself is confused about how to inhabit her faith. When Magnus Evans, a popular rugby player and fellow graduate from her university cohort, shows an interest in her, she convinces herself that seeing him is just practice for getting over her hang-ups. But as Soraya and Magnus draw closer, another narrative unfolds in flashbacks—the story of how Soraya’s parents, Neda and Hossein, fell in love in Iran in the 1970s and how migrating to England unraveled their marriage. While the contemporary story is a familiar new-adult drama of young people starting their professional paths in a big city, making romantic gaffes, and weaning themselves away from family neuroses, Soraya’s relationships to Islam and immigrant culture add a layer to the standard arc, calling to mind works like Uzma Jalaluddin’s Ayesha At Last. Simultaneously, the interspersed chapters of how Neda and Hossein's love fractured as migration and racism had their ways with them, followed by Hossein's descent into substance abuse and the mysterious absence of their oldest daughter, read more like women’s fiction, with its female protagonist’s troubled personal life and her journey to overcoming patriarchy. Its effect on Soraya, namely her emotional skittishness and existential angst, is explained convincingly—particularly through an explosive incident of domestic violence—and it's clear that her story is about discovering herself before she commits to a man. The novel also dislodges Whiteness from its typical central position in both genres, with Soraya’s friends being people of color with distinctive personalities.
Two stories juxtaposing the lives of a mother and daughter across two cultures; the former leaves a bigger impression.Pub Date: Aug. 3, 2021
ISBN: 978-0-593-35717-0
Page Count: 368
Publisher: Dell
Review Posted Online: May 18, 2021
Kirkus Reviews Issue: June 1, 2021
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
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: tomorrow
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