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A BOY'S HAMMER

A darkly delectable, fresh blend of horror and Finnish myth.

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Grass’ audacious mix of dark fantasy, horror, apocalyptic fiction, and Finnish folklore pits a lost boy against a mythic goddess of death who is trying to remake the world in her dark vision.

Fifteen-year-old Alan and his mother, Lena, disappeared in a plane crash off the coast of Helsinki and were presumed dead. But 20 years later, when a “massive, inked savage” inexplicably appears after an explosion creates a crater in a petroleum refinery outside of Philadelphia, the amnesiac giant eventually remembers that his name is Alan—and that for the last two decades he has been wandering in a place called Tuonela, a purgatorial realm of the dead in Finnish mythology, where he has had to survive a never-ending onslaught of hellish creatures bent on his annihilation. Covered with ritualistic hammer tattoos and 7 feet tall, Alan is brought to the home of his affluent aunt by Jefferson O’Brady, a Philadelphia homicide detective who is a walking cliché—the proverbial overworked, alcoholic cop with no significant relationships who numbs himself daily to forget the horrors that he has seen. But as Alan attempts to reconnect with his aunt and his next-door neighbor Rebecca—who used to be his childhood best friend—O’Brady is tasked with finding a prolific serial killer who is terrifying the inhabitants of Philadelphia. As O’Brady finds tangential connections between the serial killer’s crime scenes and the strange arrival of Alan, the murders begin to increase, and soon the body count is in the hundreds. As an otherworldly terror blankets the city, Alan sets off on his own quest—to go back to Helsinki, locate his mother, and somehow figure out his role in the interdimensional conflict.

In this genre hybrid—which seamlessly fuses elements of horror, police procedural, and mythology—the sheer uniqueness of the storyline is an obvious strength. Readers will be kept off balance throughout, and the numerous plot twists make for a satisfyingly unpredictable read. Additionally, Grass, whose previous novel was Dreck (2021), ably creates layered, emotionally astute characters. Alan and O’Brady are deeply and insightfully portrayed, and so are numerous secondary characters, like Alan’s aunt Mimi, his friend Rebecca, and Christian Henneman, a cultist who is fittingly described as “a cross between Ra’s-al-Ghul and Tony Robbins.” Along with the genre elements and bombshell-laden storyline, the richly described worldbuilding helps create a wildly immersive read. The various interdimensional worlds, and their nightmarish creatures, come alive on the page: “The biggest swarm were eyeless, humanoid devils with double-joints, obsidian black skin and long tongues slithering out past needlepoint teeth; their wings stretched from their waists up to their deformed wrists, odd-angled bones jutting out like compound fractures.” An excerpt from the novel perfectly describes the reading experience: “A bloody feast. A bountiful cornucopia of carnage, to be relished, to soak in.”

A darkly delectable, fresh blend of horror and Finnish myth.

Pub Date: Jan. 4, 2022

ISBN: 978-1-73588-854-5

Page Count: 618

Publisher: Dickinson Publishing Group

Review Posted Online: March 10, 2022

Kirkus Reviews Issue: May 1, 2022

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THE CALAMITY CLUB

Fans of Stockett’s bestselling debut will love this engaging follow-up.

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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

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WHISTLER

An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.

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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

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