A dark but charming portrait of a man unmoored by his love of an artist.
Japanese novelist Tawada, who lives in Berlin, observes a scholar’s obsession with a poet.
When does an interest become an obsession? A pathology? For the central character of Tawada’s Covid-19-era novella, problems come to light after his interest becomes a job. Patrik—more often referred to as “the patient”—is a literature scholar in the midst of a mental breakdown. The object of Patrik’s work, and of his obsession, is the 20th-century Romania-born Jewish poet Paul Celan (1920-1970). In his thoughts and conversations, Patrik references endless minutiae of the poet’s work, including his preoccupations with Zen and Kabbalah. For Patrik, Celan takes on a similar mystical significance—no detail small enough to escape notice, nothing in life too mundane to connect back to his work. Patrik aspires to “give a lecture in which he revealed the significance of every single letter Celan used in his poetry,” but he’s hobbled by his mental illness, which largely prevents him from leaving home. When he does, the patient suffers absurd compulsions, such as an inability to turn right at intersections or to order at a café. After a server offers a drink, he complains: “Why grapefruit juice? The grapefruit available in Berlin is mostly imported from Israel. Celan didn’t go to Israel until 1969.” Although he insists that “Patrik is different from the patient,” the line between them is undefined. The narrative embodies his alienation by fluctuating between first and third person and traversing fragmented timelines. What results is an inventive homage to modernist literature, wrapped up in an unexpectedly personal depiction of illness. Although the patient’s problems appear to be psychological, they manifest in his physicality: “I ought to leave my body to its own devices, it can lead a healthier life without me,” he says. “…I’ll stop trying to read my partial, physical pain. Instead, I’ll read Celan.”
A dark but charming portrait of a man unmoored by his love of an artist.Pub Date: July 9, 2024
ISBN: 9780811234870
Page Count: 144
Publisher: New Directions
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: June 15, 2024
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
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
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