Much to admire, but half of what’s here might have made for a more successful novel.
The 2000 murder of a Black teen during a home invasion resonates through the years before and after.
Wilkerson’s ambitious follow-up to Black Cake (2022) centers on a wealthy Black family, the Freemans, who have made their home on the Connecticut coast. The family’s prized possession is a 20-gallon stoneware pot they call “Old Mo,” made by an enslaved ancestor. The jar was broken during a horrible, never-solved incident in which masked men broke into their home and shot 15-year-old Baz to death in the presence of his 10-year-old sister, Ebony, called Ebby. As we meet Ebby, she has suffered a second trauma: In 2018, her rich white husband-to-be has ditched her on their wedding day for reasons that take a while to emerge. Wilkerson traces in detail the storylines of preceding generations of Freemans going back to Africa, follows Ebby and her family for the next several years—including an escape to France—and also features chapters focusing on various supporting characters with connections to the murder. With so much ground to cover, the overstuffed narrative loses steam. Furthermore, the reliance on a major improbable coincidence to force Ebby and her ex back together raises an eyebrow that never quite comes down, and the France section introduces additional characters with questionable claim on our attention. Is there really a reason to care about the trajectory of the woman Ebby’s ex shows up with at his vacation rental? However, Wilkerson’s highly readable writing style and wily withholding of a key secret will keep the pages turning happily enough for many readers.
Much to admire, but half of what’s here might have made for a more successful novel.Pub Date: Jan. 28, 2025
ISBN: 9780593358368
Page Count: 368
Publisher: Ballantine
Review Posted Online: Dec. 28, 2024
Kirkus Reviews Issue: Feb. 1, 2025
BOOK REVIEW
SEEN & HEARD
A beautiful meditation on queer identity against a supernatural backdrop.
Three women deal very differently with vampirism in Schwab’s era-spanning follow-up to The Invisible Life of Addie LaRue (2020).
In 16th-century Spain, Maria seduces a wealthy viscount in an attempt to seize whatever control she can over her own life. It turns out that being a wife—even a wealthy one—is just another cage, but then a mysterious widow offers Maria a surprising escape route. In the 19th century, Charlotte is sent from her home in the English countryside to live with an aunt in London when she’s found trying to kiss her best friend. She’s despondent at the idea of marrying a man, but another mysterious widow—who has a secret connection to Maria’s widow from centuries earlier—appears and teaches Charlotte that she can be free to love whomever she chooses, if she’s brave enough. In 2019, Alice’s memories of growing up in Scotland with her mercurial older sister, Catty, pull her mind away from her first days at Harvard University. And though she doesn’t meet any mysterious widows, Alice wakes up alone after a one-night stand unable to tolerate sunlight, sporting two new fangs, and desperate to drink blood. Horrified at her transformation, she searches Boston for her hookup, who was the last person she remembers seeing before she woke up as a vampire. Schwab delicately intertwines the three storylines, which are compelling individually even before the reader knows how they will connect. Maria, Charlotte, and Alice are queer women searching for love, recognition, and wholeness, growing fangs and defying mortality in a world that would deny them their very existence. Alice’s flashbacks to Catty are particularly moving, and subtly play off themes of grief and loneliness laid out in the historical timelines.
A beautiful meditation on queer identity against a supernatural backdrop.Pub Date: June 10, 2025
ISBN: 9781250320520
Page Count: 544
Publisher: Tor
Review Posted Online: March 22, 2025
Kirkus Reviews Issue: April 15, 2025
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
PERSPECTIVES
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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