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SILENT WINDS, DRY SEAS

An often compelling but uneven view of life in Mauritius.

This coming-of-age story set mostly on the island of Mauritius touches on political, religious, racial, and family tensions.

On a visit to Mauritius after years living overseas, narrator Vishnu Gopal recalls his boyhood and adolescence in the time leading to the island’s independence in 1968 and his move abroad to attend university. Life was defined by the immediate family and the larger clan and by the frictions that arose from disagreements over Hindu rituals or property. The boy’s roots go back to Indians who came to Mauritius in the 19th century as indentured labor; the island is also marked by French and British colonial rulers and African influences. His clan has moved on from the sugar-cane fields to better trades. Vishnu’s schoolteacher father wants his academically gifted son to go even further and win a university scholarship, and an overlong episode concerns a “bureaucratic foul-up” that costs the young man a chance to study in France. Busjeet, who left the island to finish his education and has worked for the World Bank and International Finance Corporation, has no doubt mined his own youth for this debut novel. The strongest scenes trace the pressures of family life and clan feuds amid the larger strains of the island’s multiracial society. Busjeet’s prose is workmanlike though sometimes stilted (“He’d tried to initiate me to yoga, but I was recalcitrant to any form of physical exertion”). Details of local life—young Vishnu sees Grandma carrying sugar-cane leaves on her head to feed her two cows—reflect a culture far removed from IFC corridors. Within the Hindu clan, it’s a heavily male culture, and the novel has few strong women.

An often compelling but uneven view of life in Mauritius.

Pub Date: Aug. 17, 2021

ISBN: 978-0-385-54702-4

Page Count: 288

Publisher: Doubleday

Review Posted Online: June 1, 2021

Kirkus Reviews Issue: June 15, 2021

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BURY OUR BONES IN THE MIDNIGHT SOIL

A beautiful meditation on queer identity against a supernatural backdrop.

Three women deal very differently with vampirism in Schwab’s era-spanning follow-up to The Invisible Life of Addie LaRue (2020).

In 16th-century Spain, Maria seduces a wealthy viscount in an attempt to seize whatever control she can over her own life. It turns out that being a wife—even a wealthy one—is just another cage, but then a mysterious widow offers Maria a surprising escape route. In the 19th century, Charlotte is sent from her home in the English countryside to live with an aunt in London when she’s found trying to kiss her best friend. She’s despondent at the idea of marrying a man, but another mysterious widow—who has a secret connection to Maria’s widow from centuries earlier—appears and teaches Charlotte that she can be free to love whomever she chooses, if she’s brave enough. In 2019, Alice’s memories of growing up in Scotland with her mercurial older sister, Catty, pull her mind away from her first days at Harvard University. And though she doesn’t meet any mysterious widows, Alice wakes up alone after a one-night stand unable to tolerate sunlight, sporting two new fangs, and desperate to drink blood. Horrified at her transformation, she searches Boston for her hookup, who was the last person she remembers seeing before she woke up as a vampire. Schwab delicately intertwines the three storylines, which are compelling individually even before the reader knows how they will connect. Maria, Charlotte, and Alice are queer women searching for love, recognition, and wholeness, growing fangs and defying mortality in a world that would deny them their very existence. Alice’s flashbacks to Catty are particularly moving, and subtly play off themes of grief and loneliness laid out in the historical timelines.

A beautiful meditation on queer identity against a supernatural backdrop.

Pub Date: June 10, 2025

ISBN: 9781250320520

Page Count: 544

Publisher: Tor

Review Posted Online: March 22, 2025

Kirkus Reviews Issue: April 15, 2025

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THE WEDDING PEOPLE

Uneven but fitfully amusing.

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  • New York Times Bestseller

Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.

Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.

Uneven but fitfully amusing.

Pub Date: July 30, 2024

ISBN: 9781250899576

Page Count: 384

Publisher: Henry Holt

Review Posted Online: Sept. 13, 2024

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