A seductively crafted and deeply fallible work—and a classic.
An exquisite new translation of the volume Colette referred to, on multiple occasions, as “my best book.”
A narrator who resembles her author both in name and occupation guides readers through the sexual proclivities and shades of gender expression that populated belle epoque Paris (with a brief digression to Georgian-era Wales). In cafes, cabarets, and opium dens, she introduces us to what translator Careau calls “the sexual underworld”: lesbians and gay men, women who dress in men’s clothing, a sneering, misogynist Don Juan, and others—many of whom wouldn’t have used the same language to describe themselves that we use now. (Careau believes that at least one of those cross-dressing women would likely have been a transgender man if she’d lived in our own time.) And as Careau notes in her informative if occasionally stiff foreword, the book itself evades categorization of all sorts—it’s neither pure fiction nor nonfiction, and that narrator is a lot coyer than Colette’s own life might lead us to believe. For periods of time, Colette dressed in men’s clothing and took women lovers, but you wouldn’t know it based on this account alone. Her descriptions can seem harshly—even cruelly—outdated: Of a circle of gay men, she writes, “I will carefully avoid saying that they were not manly.” Of the cross-dressing women, she accepts without complaint this question from an interlocutor: “What’s more ridiculous, and sadder, than a…simulated man?” But it’s never entirely clear where Colette’s irony ends and her sincerity begins—nor who might be considered “pure” or “impure.” As Careau notes, Colette’s work would have been wildly broad-minded at the time—and for the most part, her tone is more sympathetic than cutting, eager to unravel the many, many different layers of “my favorite form of brutality, love.” As a whole, it’s best read not as a comprehensive guide to gender and sexual desire but as a singular account—one that was very much of its own time and yet, paradoxically, far out in front of it.
A seductively crafted and deeply fallible work—and a classic.Pub Date: July 7, 2026
ISBN: 9781324075233
Page Count: 176
Publisher: Norton
Review Posted Online: June 15, 2026
Kirkus Reviews Issue: July 15, 2026
Brilliant, affecting work from one of contemporary literature’s masters.
A phone call from her past disrupts the tenuously reconstructed life of a concert pianist turned farmer’s wife.
We know from the beginning that Livia Cable is the battered survivor of her brother Cyrus’ death by suicide, a devastating romance, and a career-ending injury. Only 11 when Cyrus stepped in front of a train, she was already marked out as different in her rural Tennessee hometown by her extraordinary musical ability. The siblings had huddled together against their angry mother’s frequent beatings, and Livia still feels abandoned by Cyrus years later, when she picks up the phone to hear the voice of Sigurd, the fiery labor organizer she loved and lost to “the revolution” while on scholarship at the Indiana University School of Music. Now married to kind, steady childhood friend Charlie, Livia looks back on her affair with Sigurd as she struggles to deal with the recent death of her mother, a compulsive hoarder who left a house stuffed with junk to be disposed of and bitter memories that haven’t faded over time. Kingsolver skillfully juggles the two time frames to unravel Livia’s complicated feelings about the life she lost when her right hand was crushed and the life she has now as a country piano teacher. A partita, she explains to Sigurd early on, “is a composition made of a lot of parts with a lot of different moods…the artist’s work is to make them all add up to something that feels whole.” That’s precisely what Kingsolver does in this beautifully paced and judged narrative, which builds to revelations uncovered amid the piles of trash in Livia’s childhood home about the reasons for Cyrus’ suicide (clearly foreshadowed) and their mother’s rage (startling and heartbreaking). A fierce belief that great art is for everyone joins Kingsolver’s familiar preoccupations with class distinctions, social injustice, and the complex bonds of family and community in a tender denouement.
Brilliant, affecting work from one of contemporary literature’s masters.Pub Date: Oct. 6, 2026
ISBN: 9780063577541
Page Count: 352
Publisher: Harper/HarperCollins
Review Posted Online: July 6, 2026
Kirkus Reviews Issue: Aug. 1, 2026
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
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