Guerra’s novel is a grand if bittersweet valentine to Cuba, and maybe her mother.
What begins as one fictional Cuban woman’s examination of her personal life expands into a broader, deeper consideration of what it means to be Cuban, both for those who left since Castro took power and for those who stayed.
Not coincidentally, Nadia, the protagonist, shares the author’s last name, and, as in Guerra's earlier coming-of-age novel, Everybody Leaves (2012), the similarities between author and character feel purposeful: They're both diarists with careers in the arts, both have parents who were also artists in post-revolutionary Cuba. As the novel opens, Nadia is searching both psychologically and physically for her mother, who deserted Cuba in 1980, leaving behind her husband and 10-year-old daughter for reasons Nadia has never fully known. Thanks to a grant for artists, Nadia travels to Europe, where she receives contradictory information from her mother's former friends and lovers. Readers begin to see Nadia’s unnamed mother as a stand-in for Cuba: deeply flawed yet adored at her peak, now in failing health and living in Russia. Nadia decides to care for her mother and has her brought back to Havana, where she arrives with pages of writing related to a novel that was never published because it was deemed politically dangerous back in 1980—not unlike Guerra's mother Albis Torres' own poetry. Nadia’s endlessly solipsistic observations have been dominating the narration, but now the tone shifts to her mother’s cleareyed mini history lesson about the revolution via fragmented notes about her privileged girlhood in late 1950s Cuba, her adoring platonic relationship with Che, and her mentorship by historical figure Celia Sánchez, lovingly presented here as an altruistic saint, the most important woman in the revolution, and Fidel’s closest confidante. A third tonal shift occurs as Nadia reports on a visit to Miami, where exiles consider their reassembled version of Cuba more authentic than the Cuba where Nadia chooses to remain despite dramatic changes over the next decade.
Guerra’s novel is a grand if bittersweet valentine to Cuba, and maybe her mother.Pub Date: Aug. 3, 2021
ISBN: 978-0-06-299074-7
Page Count: 240
Publisher: HarperVia
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
Mostly charming, sometimes twee, with some really lovely things to say about poetry.
And now for some lessons in poetry and typesetting.
After Lessons in Chemistry (2022), a debut that became one of the most popular books of recent years, Garmus applies her unique comic sensibility to the story of Batter Gray, a man named after a family dog of mythic talents. A poetry maven who was reading Auden as a fourth grader, he was raised by a type-designer mother and historian father who dearly hoped he would choose some more viable profession than poetry. But via an amazing stroke of luck, he lands a job after college at Peck & Peck, an illustrious literary journal located in a beautiful building in New York City. He’s at the very bottom of the complex and dysfunctional totem pole, making copies in the basement, struggling not to run afoul of the cantankerous editor-in-chief, Salton Peck, or his smarmy assistant, Dexter York, both of whom have taken an instant dislike to our hero (and can never get his name right. Few people can). And to be honest, Batter is not without his flaws. The novel bogs down a bit in the middle, with Salton constantly excoriating his staff in ALL CAPS and much ado over the possibility that submissions have been taken outside the building, which is forbidden. Along the way, many, many famous poets are name-checked, as are many typefaces, since Batter has been raised to instantly identify a font in the wild. The best example of this occurs during his brief sojourn in jail: “The thing I kind of admired about Motherfucker II, besides his manners, was this huge tattoo he had on his neck that read I will fuck you up in ITC Bolt. Call me my mother’s son, but whoever inked it nailed the kerning.” The narrative picks up steam toward the end, as bad guys become good guys, mysteries are solved, and Batter throws one hell of a party.
Mostly charming, sometimes twee, with some really lovely things to say about poetry.Pub Date: Oct. 13, 2026
ISBN: 9781668251065
Page Count: 432
Publisher: Scribner
Review Posted Online: July 6, 2026
Kirkus Reviews Issue: Aug. 1, 2026
BOOK REVIEW
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