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BRUSH

A life-affirming, if fragmented, page-turner written in a refreshingly offbeat style.

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The lives of two strangers interconnect in unexpected ways in Anderson’s debut novel.

Chris is a Milwaukee-based tech whiz who, along with his friends, is in the process of developing an app that helps arborists find work. At the opening of the novel he’s pale, addicted to “things that made them feel alive or dead, depending on the need.” Jo is a divorced woman who owns a flower store in Mount Horeb, Wisconsin, cares deeply for her community, and is tentative about getting involved in a romantic relationship. Chris’ app is an instant success, making him a multimillionaire. However, his new wealth leads him to become more introverted, and he turns to painting as an outlet. After his mother presents him with a paintbrush that belonged to his deceased father, his creations perplex him, and he begins to find himself in situations that exactly match his imagined paintings. Meanwhile, Jo wrestles with her feelings for Grant, a friend and employee, but is shocked by his xenophobic response when she hires a woman named Paj. Restless, Jo takes an impromptu trip to Zurich, where she meets the enigmatic Micha, a garden designer. They have an unforgettable evening together and then part ways. The novel follows Chris’ and Jo’s seemingly independent lives over the course of a year. Readers will be kept guessing how, if ever, the two strangers’ lives will connect.

This is an intriguing work of subtle magical realism and unconventional romance. Anderson shows off a delightful descriptive style that’s beautifully simple yet effortlessly evocative: “Every year she noticed the same old man walk past daily and pause, noticing new buds pop wide as if from a magician’s hand.” The author creates psychologically believable characters that develop as the novel progresses. It’s particularly interesting to observe how Chris matures from the “video games, porn, and the occasional programming language” aficionado of his graduate years to a man fully immersed in the creative process. There are moments when Anderson shares wise advice through minor characters; after Chris’ mother suffers a stroke, for example, he’s advised by his mother’s nurse: “Try to give yourself as few of those regrets as you possibly can. You might think you can’t climb this mountain. But you can.” On other occasions, the author effectively wields humor; while describing a visit to a nudist club, he writes, “Jo didn’t know if naked was the right word, since the man was wearing a cowboy hat.” The novel has notably short chapters, moving back and forth between Chris and Jo. It’s a notably disjointed approach, but it often quickens the pace of an already compelling work. Anderson’s characters sometimes impulsively partake in unexpected activities, such as Jo’s overseas trip, but this adds a further element of surprise to a plot that has many diverting twists and turns. Overall, Anderson’s debut is an intelligent celebration of life, love, and creative endeavor and often proves a joy to read.

A life-affirming, if fragmented, page-turner written in a refreshingly offbeat style.

Pub Date: Sept. 8, 2023

ISBN: 9798988749301

Page Count: 610

Publisher: N/A

Review Posted Online: June 13, 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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WHISTLER

An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.

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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

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