A playful virtuoso with a deadly seriousness of purpose.
The prolific Boyle continues to have fun and make literary mischief with his latest story collection.
There's no reason why these 13 stories should seem so funny, as most of them confront individual mortality and some sort of cultural collapse. They run the gamut from the subversively real to the surreal in such a way that they blur the distinction between the implausible and the inevitable. The epigraph quotes the promise/threat in Willie Dixon’s “I’m Your Hoochie Coochie Man”: “I’m goin’ to mess with you.” And mess with you these stories do, whether it’s removing the blinders from a series of privileged and deluded narrators or messing with the reader’s understanding of where the author might be located in this artistic dynamic. “Key to the Kingdom” invites the reader to see the protagonist as the author, though there’s always peril in doing so with this trickster. Now branded as F.X. Riley, he's returned to his alma mater—where he was known as Frank—to give a reading, and he is given something of a celebrity’s welcome. “Not that he was a celebrity himself, or not especially—books were too obscure in this age to register to that degree on the social scale, especially literary books. Like his.” It’s a story that cuts close to the bone on themes of alcoholism, paternity, and academic suicide, making a strong case that its truth has nothing to do with how factual it might be. The title story doesn’t tempt the reader to confuse author and narrator, though it rings every bit as true and is very funny in the darkest sort of way, as complacency provides little protection in the face of “something like a billion and a half stinking people all hurtling toward the grave. Like everybody else in the world. Like her. Like him.” There’s a futurism running through much of the collection, whether it’s trying to avoid omnipresent facial recognition (“SCS 750”) or submitting to the tyranny of vehicles that take you where they want you to go (“Asleep at the Wheel”), but it seems like we’ve already turned the corner into that future.
A playful virtuoso with a deadly seriousness of purpose.Pub Date: Sept. 13, 2022
ISBN: 978-0-06-305288-8
Page Count: 288
Publisher: Ecco/HarperCollins
Review Posted Online: June 7, 2022
Kirkus Reviews Issue: July 1, 2022
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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