A trio of intriguing but uneven dramas.
A collection of two-act plays probes damaged lives.
Sometimes people’s past traumas, even when known and accounted for, can destroy them in the present. In Tattoos, teenager Wylie shocks his ex-military father, Wyman, by joining the Army and proposing to his girlfriend, whom he met only two weeks ago. Not knowing what else to do, Wyman allows the new wife, 16-year-old Julie, to move into the house while Wylie is away at boot camp. It quickly becomes clear that the real romantic tension may be between Wyman and his teenage daughter-in-law—and that Wylie may have engineered it. In School Play, Ted, a middle-aged college English instructor, has some concerns about essay content written by a Kenyan student named Charles. “Most times the kids in my classes write stuff about things like the sports trophies they won as middle schoolers,” Ted tells his superior. “Charles mentions people’s hands getting cut off with machetes.” Despite Ted’s fears, the two enter into an odd sort of mentorship, one that comes to involve an alluring high school–aged actor. Tyrannos is a modern take on Greek tragedy involving a Donald Trump–like American president plagued by scandals—including a potentially career-ending rumor that his wife is actually his sister. Young creates captivating premises, at least in the first two plays, and his dialogue is sharp and engaging. But his characters rarely act or speak in the ways that normal humans would. They are all hyperliterate, whether they should be or not, dropping references to the theater and Freud and asking dramatic questions rather than obvious ones. Here, Wyman and Julie chat after their (illegal) indiscretion: “WYMAN Well, I’m not blaming you...anyway, it wasn’t your whole body.…I mean I think Freud was trying to answer that question: Why do we feel bad? I mean, I don’t feel bad about wanting to play golf, usually. His answer: mum and dad. ‘Our beds are crowded,’ he said. JULIE Did you love her? Wylie’s mom.” The first two plays bring up serious issues—in both cases, the predatory behavior of men, among others—without earnestly addressing them. The third play is tedious Trump-era moralizing. None of the three manage to quite achieve the lofty aims that the author sets for himself.
A trio of intriguing but uneven dramas.Pub Date: July 17, 2021
ISBN: 978-1-73442-363-1
Page Count: 301
Publisher: Self
Review Posted Online: July 6, 2022
Review Program: Kirkus Indie
BOOK REVIEW
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
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
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
