An arresting attempt to put collective pain and healing on the page.
A visual poetry book that grapples with the idea of the end of the Covid-19 quarantine.
“Of all that can never be returned, / the opening represents a kind of iterability,” reads the epigraph to poet Karasick and graphic designer Lehrer’s stylized poetry collection. It’s accompanied by a quote by the late Algerian-French philosopher Jacques Derrida, who’s frequently lauded for his deconstruction strategy of analyzing a topic, such as art or politics, through a distortion or subversion of established narratives. In many ways, the Covid-19 pandemic has thrust deconstruction upon the world, unraveling beliefs and allowing people to see the world with new eyes—whether they wish to or not. Karasick’s poems and Lehrer’s images of textual choreography deal with what emerging from a long, isolating quarantine feels like “in the today of wild touching; / the today of withholding, the today of / passionate rations.” This book has two halves; the former features seven numbered “Openings,” and the latter the longer “Touching in the Wake of The Virus.” The first feels largely cerebral (“just / open my head…this open house / of whispered screams”) while the second feels much more tactile, grounded in the yearnings of a distressed body: “how to touch without touching…where touching is already too much.” Karasick often uses alliteration and sonic association, using language to represent this slow re-entry—the kinetic chaos of relearning one another. Lehrer makes a performance out of form, drawing parentheses and blocky black corners around lines that talk of “borders” and “evasions”; blackening the many o’s of “openings” and their associates into portals; forcing the eye to sweep across unpredictable, textured pages when Karasick’s speakers lament their physical alienation. The words curl, grow, shrink, and wrap around loops and illustrations that still can’t fill the pages’ stark white space, evoking a feeling of impatience. At a few points, the repetitive form is less compelling, but overall, this collaboration keenly embodies a collective trauma that eludes a singular definition.
An arresting attempt to put collective pain and healing on the page.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Lavender Ink
Review Posted Online: Aug. 24, 2023
Review Program: Kirkus Indie
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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