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HANDS AND STRAIGHT LINES

Compelling prose hampered by a lack of momentum and dynamism.

Bradsher-Fredrick’s debut novel explores a man’s life through the prism of minute details.

Notoriously difficult to render, hands and straight lines are considered by Edward Rawlinson to be the trickiest subjects and most important metric for being an artist: “Hands and straight lines engaged me. I applied myself consciously to those two subjects to such an extent that, although I dimly mistrusted dichotomies, I divided the world into ‘hands’ and ‘straight lines.’ ‘Hands' and ‘straight lines’ became huge, ill-defined, virtually limitless categories into which I divided much of my experience.” In this novel, which reads more like a memoir, the author crafts short chapters about Edward, a young, gay, aspiring painter, charting the significant moments of his personal and artistic journey. Edward recounts his whimsical obsession with watercolors; his graduation to more pigmented, expensive paints; touring the art and points of interest of Turkey and Mexico with his brother, Burke; his bond with his great-aunt, Estelle, and her ornate home of treasures; playing jacks with a local girl, Christine; his fear of horses; his not-so-secret love of a college professor (“I felt that I could not endure the details about Professor Baussan that bit into me while normal things happened”); and many other elements that add up to define a life and an artistic sensibility. In addition to Edward’s painting practice, the book charts many of the supporting characters’ passions, including equestrianism, crochet, and drawing. As he comes to terms with his sexuality and the depths of his desires, Edward must decide which among his relationships with friends and family are worth saving and which he must forgo for the sake of living the life he wants.

Bradsher-Fredrick has created a novel the way artists create collages, mosaics, and still lifes, combining small, mercurial moments to create an overall impression and arc. Edward’s narration is full of ruminating, tangible details that poignantly allude to his artistic eye: “The violet shapes, crocheted discs and parts of discs, coarsely—painfully—imitated grape clusters…I’d painted, that morning, as if no fence existed, as if no fence existed beyond the bushy fountains, as if no knives existed under cut flowers.” Unfortunately, his delivery is occasionally marred by strangely clunky lines (“Friendly, Christine treated me as a friend”; “I felt his weight: thrillingly bodily”). Despite the prose’s compelling imagery, the author’s nonlinear and anecdotal treatment of Edward’s life quickly becomes convoluted and confusing, disrupting momentum to move around in time and poring over the same moments of Edward’s life across multiple chapters; the lack of discrete scenes and action make it hard to understand any characters other than Edward, who readers are never really given a full description of. No consistent plot emerges until Edward goes away to college and meets “the fiery lining” of his life, his professor, Lawrence Baussan, who is 20 years his senior. Even their tender relationship comes to feel redundant; the book never answers the question of what Edward’s story means.

Compelling prose hampered by a lack of momentum and dynamism.

Pub Date: Dec. 15, 2023

ISBN: 9798988690344

Page Count: 366

Publisher: Tailwinds Press Enterprises LLC

Review Posted Online: Oct. 26, 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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HOLLYWOOD, ENDING

A classic Green portrait of young love…but here the fault is in our social media.

A relationship between young screen actors is magical, fraught, and relentlessly public in Green’s first novel for adults.

“Every movie romance needs an Obstacle, a reason the characters don’t naturally fall into each other.” In the off-screen romance between actors Juniper Castillo and Kai Laramie, the obstacle is a moving target. Juniper notices early on that as flirty and forward as Kai is, he seems “closed off to a romantic connection”; that turns out to be the tip of a very problematic iceberg. The two meet in the lobby of a Pittsburgh hotel where they will be spending the evening with Matthew Malone, the megastar playing Andy Warhol in a movie they’re about to begin shooting, Andy Warhol Never Gets Old. Kai has been cast as Andy’s intern, Juniper as a journalist who gets in over her head. This is Juniper’s first adult role after a long run as a Nickelodeon child star, and newcomer Kai’s first role of any kind. Green evokes in compelling detail all the phases and aspects of the film project, from the table read to the screening of the rough cut, from the social media fanfare to the public premiere and the press junket, moving back and forth between Juniper’s and Kai’s first-person perspectives. In a meeting with one of the ubiquitous publicists, Kai learns that somehow “the high school stuff” he never talks about—despite their growing inseparability and seemingly profound connection, he hasn’t even brought himself to share it with Juniper—has surfaced. Details emerge slowly, then blow up in the media; the book’s third act focuses on the destructive potential of celebrity culture in a climate that makes Warhol’s milieu look innocent by comparison. After a long break from writing fiction—his last two books were Everything Is Tuberculosis (2025) and The Anthropocene Reviewed (2021)—Green fills this novel with carefully observed details of Hollywood culture and characters, including running jokes about vegan cuisine, media training, and the way Kai’s agent constantly and boorishly consults his young female assistant on points of political correctness. Can he talk about “hot girls”? Can he quote T.S. Eliot? OK to say “dog vomit”?

A classic Green portrait of young love…but here the fault is in our social media.

Pub Date: Sept. 22, 2026

ISBN: 9780525426073

Page Count: 304

Publisher: Dutton

Review Posted Online: Sept. 4, 2026

Kirkus Reviews Issue: Oct. 15, 2026

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