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PETROCHEMICAL NOCTURNE

A bristling, lurching, and often insightful investigation of the past.

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Wright’s experimental novel meditates on history and racism in the Deep South.

Welcome to Louisiana. This “Sportsman’s Paradise,” as the state motto has it, is a land with a complicated past, from its slave trade to the Battle of New Orleans during the War of 1812 to its showcasing, and later removal, of a statue of Confederate Gen. Robert E. Lee. This fictional journey begins around 2016 in Baton Rouge, the state capital, named after a “red stick” that was once used to demarcate a border. It’s home to a section called Standard Heights, a neighborhood that was once “a company town built for workers by Standard Oil at the turn of the last century.” Many streets in the neighborhood are named after Native American nations—which is odd, given past violence against them by white settlers. Its proximity to what is now a large ExxonMobil plant makes it less-than-prime real estate. It’s also a place that was once home to a man named Toussaint; the pollution was so bad when he was growing up there that his father wouldn’t allow the opening of any windows in the family home. As the narrator, a writer on an unusual quest, converses with Toussaint, the story becomes a personalized tour of Southern injustice. Items for discussion include everything from The Negro Motorist Green Book and lynching postcards to the 2017 Floyd Mayweather-Connor McGregor boxing match. The narrator eventually makes it to New Orleans in time to see the removal of the Lee statue; he reveals that he, himself, is a distant relative to an infamous historical figure. A photo of that man is included, among other images, such as of a crumbling interior of the abandoned Charity Hospital in New Orleans. It all amounts to a collage-like look at America’s troubling past.    

Wright’s novel progresses in a concentrated but rather plotless manner in long, dense sentences. The ExxonMobil site in Baton Rouge is described as “a city-state unto itself with its own body of rules and oral traditions maintained by an order of petrochemical priests.” Toussaint speaks of how he “summoned the catawampus courage to overcome the trepidation and the taboo, which had gripped me for years” against opening windows at home. The work abounds with such slow, poetic lines, and their tone works best when guiding readers through lesser-known aspects of the past. For instance, a floodgate system called the Spillway is described, intriguingly enough, as only having been opened 11 times. Yet the work’s unrelenting earnestness can make for some jarring moments that may take readers out of the story, as when Toussaint’s father is said to have taken him to watch the Spillway opening one spring so that he would “fear death by water,” and the aforementioned boxing match is sold as a racial conflict with “white frat-bro types and their blonde ratchets, pumping fists and cheering for McGregor to whipsaw Mayweather.” That said, although the work’s examination of history is unsubtle, readers will be left with more than a few uncomfortable emotions to mull over.

A bristling, lurching, and often insightful investigation of the past.

Pub Date: N/A

ISBN: 9781604893434

Page Count: 345

Publisher: Livingston Press

Review Posted Online: May 23, 2023

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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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PECK & PECK

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

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