A metatextual inquiry into the roots of human conflict that keeps its thread of tension taut throughout.
A recovered manuscript details the establishment of the New Society after the ruinous Great Reckoning almost ends mankind—but does it describe a triumphant return to peace and equity or the desecration of that which makes us most human?
Dr. Miriam Gregory was a visionary psychologist whose research into the link between memory and trauma led to some of the foundational tenants of the New Society, the system of political and social governance that sprang up in the shambles left behind by the Great Reckoning. In 1977, she failed to return home from work and was not heard from again until her body was discovered in Stockholm in 1996. Hidden under the floorboards of Dr. Gregory’s attic bedsit was a manuscript which, in spite of its incendiary nature, has been made available to a select few well-vetted readers in the name of free speech, the very manuscript the reader now holds in their hands. Dr. Gregory details her early life: the loss of her family, her adoption into a gang of similarly orphaned children, her specious arrest for treason, and her friendship with the ethereal Elsa. It is from Elsa that Dr. Gregory learns to enter a meditative trance state that allows the girls to remove themselves from the harsh environment of the Belgian prison in which they are both incarcerated. After Elsa’s presumed death in a prison riot, Dr. Gregory evolves the technique from meditation into a tool that can actually alter a subject’s relationship to the traumatic memories they carry within them. As her proficiency grows, however, Dr. Gregory’s research is put to uses she never intended. Eventually, her psychological treatments become the foundational tool for enacting the Age Ten Protocols, wherein children are separated from their families and conditioned to forget their emotional ties in an effort to eradicate all traces of the kind of tribal or national loyalties responsible for the Great Reckoning. Horrified by the application of her process, Dr. Gregory sets out to right some of the wrongs she has unwittingly helped create. The book as a whole fits into the universe of the authors' serial podcast Within the Wires, which also takes its form from the idea of found communication. Unsurprisingly, that sense of collaborative creation carries over, both in how Dr. Gregory’s memories intersect and sometimes refute the details of her history and in the technique of liberally footnoting the text with asides from fact-checkers and critics who warn the reader of the danger of taking Dr. Gregory’s word as law. The result is a fascinating layering of fiction, invention, satire, and social critique which explores much more than just the backstory of an alternative history.
A metatextual inquiry into the roots of human conflict that keeps its thread of tension taut throughout.Pub Date: Nov. 16, 2021
ISBN: 978-0-06-306662-5
Page Count: 384
Publisher: Harper Perennial/HarperCollins
Review Posted Online: Sept. 28, 2021
Kirkus Reviews Issue: Oct. 15, 2021
BOOK REVIEW
BOOK REVIEW
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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