An absorbing, uplifting tale of finding light and self-worth in adversity’s darkest depths.
This debut novel sees an erstwhile homeless man with a history of depression become the basketball coach at a school for mentally ill juvenile offenders.
Mikey Cannon grew up in a racially diverse stretch of Los Angeles and played basketball in games where he was “the only white boy” (“I could set up plays like a pro”). Mikey was 15 years old when his mom died. A year later, he entered the Friedman Psychiatric Hospital suffering severe depression—a condition exacerbated by his dad’s tough love. His dad, a decorated high school basketball coach, considered Mikey his great disappointment. Now, at 25, Mikey has weathered two more hospital stints and spent several years living on the streets. His dad has grudgingly taken him back in, but only if Mikey can hold down a job—as a bus driver at Mary Friedman Alternative High School, an institution attached to the hospital that caters to juvenile offenders. As Mikey drives his bus, he comes to appreciate how much the kids have stacked against them. When circumstances leave him in charge of the basketball team, he sees an opportunity to give them something good in their lives and expunge some of his personal demons. Can Mikey save them through basketball? Gordon writes in the first person, past tense, from Mikey’s perspective, crafting a story much in the vein of the film Stand and Deliver,only more acute. Unlike the movie’s math teacher protagonist played by Edward James Olmos, Mikey is an underdog, and his team is disadvantaged by more than its socioeconomic background. The author’s exploration of mental illness is fearless and without artifice, portraying not only the debilitating effects on those afflicted, but also the trepidation, helplessness, anger, neglect, scorn, and occasional love returned to them by family and strangers. Mikey is an engaging protagonist, and all of his charges emerge as distinct characters. Even stock figures like Mikey’s dad have depth beyond their narrative functions. Throughout, Gordon narrates events in clear, accomplished prose that captures the voice and heart of each player. Readers will find themselves caught up in the journey, cheering for Mikey and his team. The ending, though verging on the saccharine, is extremely well played.
An absorbing, uplifting tale of finding light and self-worth in adversity’s darkest depths.Pub Date: July 15, 2024
ISBN: 9798990103528
Page Count: 303
Publisher: Maxwell Street Books
Review Posted Online: Jan. 17, 2024
Review Program: Kirkus Indie
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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