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MO

A chatty, thoughtful mixture of humor and sincerity.

Heale presents a satirical novel about modern-day justice.

Mo Harris is a 14-year-old boy in rural New Zealand. Mo’s life is no walk in the park: He lives with his destitute mother, who blames her problems on her son. After Mo punches a girl at school, he takes off. After some wandering, he meets Gulliver, an old man who offers to take Mo to his off-the-grid farm; The man and his wife, Daphne, are former university professors who have taken a few steps back from society. Mo matures as he works on the farm. Meanwhile, James Carstairs teaches children the excitement of the English language at an unnamed school. His lively style awakens the imaginations of youngsters that the school system has failed through neglect and under-funding. The headmaster explains that the school employing Carstairs “is run exclusively for the benefit of every interested party with the exception of the pupils.” Such comments make Carstairs wonder if nefarious forces are intentionally dumbing down New Zealand’s education system. Carstairs wants to “engage marginalized and disenfranchised young men and adults,” so, he sets out to do something bigger than conventional teaching, establishing Project Robin Hood.Carstairs argues that the world lacks any sense of fairness, and that, while laws certainly exist, justice is all too often lacking, proclaiming to his potential Sherwood Clan that “Robin Hood is needed today as much as ever.” How does project Robin Hood work? Much like the figure of legend, Carstairs will fight for the little guy; from helping an elderly couple being ripped off by a builder to confronting a supermarket chain that engages in foul tactics, there is much work to be done. The narrative takes a turn when Carstairs’ story intersects with Mo’s, who has come into some trouble of his own.

The excitement of the story comes from watching “Robin Hood” and company go about their avenging. The humor emerges from many of the reactions they receive. As an executive at the corrupt supermarket chain complains when he is bothered, “This had better be good. I was watching the cricket.” The story is not all revenge schemes; the author is careful to include frequent critiques of modern society, as when the judicial system is snidely referred to as “an old and leaky convoy. It moves at the speed of the slowest components and those components are lawyers who charge by the hour.” While the text teems with such observations, the dialogue frequently leans toward the excessive and drawn-out. Some extraneous information slows the satirical onslaught—many of the early pages are taken up by Mo’s adventures in off-grid living. In a work that pokes fun at many different things, Mo’s farm life is not particularly funny. Nor does it seem meant to be: The old man is prone to flat statements like “You are welcome to our home, that I hope will become your home.” The mixture of fun and earnestness gives the reader pause—Carstairs does not intend for his project to simply cause amusing chaos, he wants to change the world. And what of Mo and his trouble? The answer to that predicament proves to be far stranger than the reader could imagine.

A chatty, thoughtful mixture of humor and sincerity.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Self

Review Posted Online: March 7, 2025

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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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