A remarkably beautiful story of the agony of loss and injustice.
Yun-Yun’s novel, based on true events, tells the story of a boat accident, as seen through the eyes of one victim’s sibling.
On April 16, 2014, the ferry MV Sewol capsized off the coast of South Korea, resulting in the deaths of more than 300 passengers, including 250 students and 11 teachers on a high school field trip. False reports that the passengers and crew had been rescued, and the lateness of the South Korean coast guard’s rescue efforts, led to a national outcry. This real-life tragedy is the backdrop for this novel, in which 24-year-old Park Yun-young reels from the loss of her 29-year-old sister, Mi-na, whom she calls Unnie (“older sister” in Korean), a teacher who died aboard the Sewol. The story begins with Yun-young retracing the steps that Unnie took in life—revisiting the school she attended, her dormitory, and the cubicle where she tirelessly studied to pass the national exam required to become an educator. At each stop, Yun-young crosses paths with people who knew her sister or who also had a loved one on the Sewol. Shifting back and forth between the present day and memories of Unnie, the narration has a dreamlike quality that heightens its sense of bittersweet nostalgia. Along the way, the author slowly reveals the timeline of events immediately prior to, during, and after the disaster. In one notable scene, months after the ferry’s sinking, Unnie’s suitcase is recovered from the muddy waters, and Yun-young and her family gather in their living room to open it and sift through its contents. Lifting the silt-soaked clothes out, piece by piece, Yun-young’s mother runs to fill a basin with water and stomps the mud out of Mi-na’s possessions, as if to rinse the horror from her daughter’s memory: “Yun-young can hear Mom’s muffled screams as she yells for the dirt to get off, to get off Unnie. The water sloshes for a long time.” The poetic force of the prose enhances the interplay between the past and present, blending them into a familiar, nonlinear pattern of grief.
A remarkably beautiful story of the agony of loss and injustice.Pub Date: April 11, 2024
ISBN: 9791198565105
Page Count: 212
Publisher: Libre Books
Review Posted Online: Feb. 19, 2024
Review Program: Kirkus Indie
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
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