A straightforward family story written with a poet’s sensitivity and flair.
Based on the life of the author's Sephardic grandmother, complete with real names and photographs, this generational saga traces a family's journey of exile.
The novel is divided into three sections set in different places: There’s early-20th-century Constantinople, where prosperous Jews, Christians, and Muslims intermingle easily and where Rebecca Cohen lives as a child; Spain, where her family reluctantly immigrates in 1925; and the United States, where Rebecca eventually settles but never feels at home. Rebecca’s happy childhood ends abruptly in 1914 when the French-speaking Catholic school she attends abruptly closes and the previously oblivious 12-year-old becomes aware that war has broken out. Her best friend immigrates to America; Rebecca’s family is increasingly less prosperous. Ten years later, her father is financially ruined, and his beloved Turkey has become as intolerant of Jews as of Armenians and Greeks. Offered a low-level job at a small synagogue in Barcelona, he moves Rebecca’s family (minus an older sister who’s left for Cuba) to Spain, the country their ancestors fled during the Inquisition. Rebecca builds a successful dressmaking business there but, afraid of spinsterhood, rushes into marrying the only Jewish bachelor available and suffers in a deeply unhappy marriage. Her husband dies shortly after the birth of their second son. Although world events remain mostly in the background, rising fascism casts its shadow. In 1934, Rebecca accepts an invitation from her older sister, now living in New York, to marry the widower of an old friend who'd died in childbirth in Queens and immigrate to America. Yes, this sounds like soap opera, or a somber The Brady Bunch, as Rebecca and her new husband blend her sons, his daughter, and the children they bear together into one family. This longer final section lacks the novel’s earlier vibrancy, perhaps because writing about people she personally remembers constrains Graver. That’s too bad, because in imagining places (including a dreamy Cuba) and people from earlier times, Graver’s poignantly elegiac prose often soars.
A straightforward family story written with a poet’s sensitivity and flair.Pub Date: April 18, 2023
ISBN: 9781250869845
Page Count: 304
Publisher: Metropolitan/Henry Holt
Review Posted Online: Feb. 23, 2023
Kirkus Reviews Issue: March 15, 2023
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
An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.
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
PERSPECTIVES
PERSPECTIVES
SEEN & HEARD
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