An ambitious and multifaceted novel that cunningly challenges patriarchy and its consequences.
In Giordano’s debut historical novel, a young aristocrat is whisked away to her new husband’s Caribbean residence, where she discovers that all is not as it seems.
The novel opens in Somerset, England, in 1791. Eliza Hastings is the last unmarried daughter in her wealthy family, as she’s less interested in finding a potential mate than she is in spending time in the library. Her impatient parents arrange a function to which they invite numerous potential suitors, but rather than socialize, Eliza decides to pursue a beautiful moth through the garden. As she does so, she encounters a strange man with “wary green eyes”: Lord Charles Sharpe, a baron and lieutenant colonel of the British Legion. Soon after their first meeting, Sharpe requests Eliza’s hand in marriage, which she uncertainly accepts to get away from her family; they leave for his father’s house in the Bahamas shortly after the wedding ceremony, where Charles plans to put down roots. Even during their passage, something feels wrong. Charles is dismissive of Eliza, and they sleep in separate chambers (although the latter was not uncommon for the aristocracy of the period). Then, after their arrival at their destination, Charles forces himself upon her, finally revealing his violent, domineering character. Eliza is horrified by the presence of slavery on the plantation, and she finds herself a prisoner on the island. Her only pleasure, swimming, is forbidden by Charles, although she regularly disobeys him. Then Eliza’s life changes again when she meets an enigmatic, well-dressed gentleman named Jean Charles de Longchamp, who charms her with his knowledge of literature. In Jean, Eliza finds the possibility of new love and also, perhaps, an opportunity to break free.
This is a compelling series starter with a fascinatingly complex main character. Her driving ambition to escape her patriarchal society’s sexist expectations and experience the world on her own terms proves to be inspiring. Giordano communicates Eliza’s predicament with clarity and elegance: “He represented reason right now when she only wanted to chase after her hazy surroundings, comfortable in wantonness, and her newfound freedom.” Eliza and Charles’ heated conversations about slavery are particularly engaging, as when Eliza says, “I believe that men enjoy dominating others. Whether it is women or their fellow man. There is no moral justification for the trade, and there never shall be.” Charles, however, holds the vile assumptions of his time, gender, and class: “It is the natural order of things, my dear….Do not the strongest animals dominate the weaker ones?” In many respects, Eliza is a woman before her time: a 21st-century progressive feminist who refuses to tolerate Charles’ tiresome 18th-century condescension. This makes for thought-provoking reading; through Eliza’s perspective, readers witness the stark injustices and inequalities of colonial society with clarity. Meanwhile, Giordano produces formal yet amusing descriptive passages that may remind readers of Charlotte Brontë’s work: “An unimpressive corpulent man with red hair stepped forward, possessing ruddy flushed cheeks.” An ambitious and multifaceted novel that cunningly challenges patriarchy and its consequences.Pub Date: Dec. 13, 2022
ISBN: 9798986983400
Page Count: 536
Publisher: Käferhaus Press
Review Posted Online: May 12, 2023
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
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