January 15, 2019: Volume LXXXVII, No 2

Featuring 351 Industry-First Reviews of Fiction, Nonfiction, Children's and YA books

KIRKUS VOL. LXXXVII, NO.

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JANUARY

2019

REVIEWS Bridgett M. Davis’

The World According to Fannie Davis: My Mother’s Life in the Detroit Numbers is about an amazing woman. “I was absolutely clear that there’s something about black mothers that’s just not part of the narrative,” Davis says. p. 60

from the editor’s desk:

Excellent January Books B Y C LA I B ORNE

Chairman H E R B E RT S I M O N President & Publisher M A RC W I N K E L M A N

SM I T H

# Chief Executive Officer M E G L A B O R D E KU E H N mkuehn@kirkus.com Photo courtesy Michael Thad Carter

Talk to Me by John Kenney (Jan. 15): “It’s a case of death by internet when the fortunes of a beloved network news anchor take a nose dive after a shameful mistake on the set. Kenney opens his modern morality tale with a literal fall—a man jumping from a plane with no plans to open his parachute. As he plummets, he imagines the coverage: ‘Ted Grayson, the longtime anchor of the evening news, died today in an embarrassing skydiving accident on eastern Long Island. Sources say the disgraced former newsman may have taken his own life. He was fiftynine.’ A few weeks earlier, Ted exploded at the young Polish hairstylClaiborne Smith ist on the set, mistaking her smile of excitement for one of ridicule, shouting obscenities and repeatedly calling her a ‘Russian whore.’…A powerful and moving rendition of a story we’ve been waiting to hear: what it’s like to be the bad guy in this ripped-from-the-headlines situation.”

House of Stone by Novuyo Rosa Tshuma (Jan. 29): “Life under Robert Mugabe’s brutal government takes center stage in this harrowing novel of Zimbabwe. Seventeenyear-old Bukhosi Mlambo has been missing for more than a week, since his disappearance during a political rally. His parents, Abednego and Mama Agnes, desperate to find him, have accepted the emotional support and help of their tenant, Zamani, the unreliable narrator through whom the story is told. Zamani, an orphan, feeling a ‘prick of opportunity,’ takes advantage of their desperation and endeavors to replace Bukhosi and go from ‘surrogate son’ to ‘son’ through a variety of manipulative acts….A multilayered, twisting, and surprising whirlwind of a novel that is as impressive as it is heartbreaking.”

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Managing/Nonfiction Editor E R I C L I E B E T R AU eliebetrau@kirkus.com Fiction Editor L AU R I E M U C H N I C K lmuchnick@kirkus.com Children’s Editor VICKY SMITH vsmith@kirkus.com Young Adult Editor L AU R A S I M E O N lsimeon@kirkus.com Staff Writer MEGAN LABRISE mlabrise@kirkus.com Vice President of Kirkus Indie KAREN SCHECHNER kschechner@kirkus.com

Indie Editor M Y R A F O R S B E RG mforsberg@kirkus.com Indie Editorial Assistant K AT E R I N A P A P P A S kpappas@kirkus.com Editorial Assistant CHELSEA ENNEN cennen@kirkus.com Mysteries Editor THOMAS LEITCH Contributing Editor G R E G O RY M c N A M E E Copy Editor BETSY JUDKINS Designer ALEX HEAD Director of Kirkus Editorial L AU R E N B A I L E Y lbailey@kirkus.com

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from the editor’s desk

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Spin by Lamar Giles (Jan. 29): “Two African-American teens who dislike each other find themselves working together to solve the murder of a mutual friend. Kya Caine and Fatima ‘Fuse’ Fallon were both in the orbit of Paris Secord, aka DJ ParSec. Kya and Paris were friends from their neighborhood, while Fuse’s skill with social media made her the ideal person to promote this music among #ParSecNation fans. On the night Paris is murdered, both girls happen on the scene within minutes of each other; her death is a blow, and their shock and pain run deep….The depiction of the grassroots music scene that feeds hip-hop and keeps it cutting edge is seamlessly woven into the narrative. Not to be missed.” (Mystery. 12-18)

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contents fiction

The Kirkus Star is awarded to books of remarkable merit, as determined by the impartial editors of Kirkus.

INDEX TO STARRED REVIEWS............................................................ 4 REVIEWS................................................................................................ 4 EDITOR’S NOTE..................................................................................... 6 KAREN THOMPSON WALKER’S HYPNOTIC NEW NOVEL............ 14 CHRIS CANDER WRITES THROUGH A PIANO................................ 24 MYSTERY.............................................................................................. 36 SCIENCE FICTION & FANTASY.......................................................... 41 ROMANCE............................................................................................ 43

nonfiction

INDEX TO STARRED REVIEWS..........................................................44 REVIEWS..............................................................................................44 EDITOR’S NOTE...................................................................................46 ON THE COVER: BRIDGETT M. DAVIS............................................ 60 STEPHANIE LAND SHATTERS STEREOTYPES................................66

children’s

INDEX TO STARRED REVIEWS.......................................................... 74 REVIEWS...............................................................................................75 EDITOR’S NOTE................................................................................... 76 YOON HA LEE’S HIGH-OCTANE THRILLER.................................... 92 BOARD AND NOVELTY BOOKS.......................................................124 CONTINUING SERIES.......................................................................128

young adult

INDEX TO STARRED REVIEWS.........................................................130 REVIEWS.............................................................................................130 EDITOR’S NOTE..................................................................................132 SOMEDAY WE WILL FLY TAKES OFF..............................................138 CONTINUING SERIES.......................................................................143

In his lyric memoir in essays, Mitchell S. Jackson navigates family strife, crime, guns, toxic masculinity, substance abuse and addiction, and the meaning of “hustle,” among countless other timely topics. Read the review on p. 54.

indie

INDEX TO STARRED REVIEWS........................................................ 144 REVIEWS............................................................................................ 144 EDITOR’S NOTE.................................................................................146 INDIE Q&A: ANNA TODD..................................................................152 QUEERIES: OMISE’EKE TINSLEY.................................................... 160 INDIE BOOKS OF THE MONTH........................................................ 166

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APPRECIATIONS:UMBERTO ECO’S FOUCAULT’S PENDULUM TURNS 30........................................................................................... 167 |

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fiction COURTING MR. LINCOLN

These titles earned the Kirkus Star:

Bayard, Louis Algonquin (400 pp.) $27.95 | Apr. 23, 2019 978-1-61620-847-9

COURTING MR. LINCOLN by Louis Bayard....................................... 4 BIG BANG by David Bowman............................................................. 6 OUTSIDE LOOKING IN by T.C. Boyle...................................................7

Historical thriller veteran Bayard (Lucky Strikes, 2016, etc.) finds suspense in the three-cornered relationship of Mary Todd, her awkward but compelling suitor, Abraham Lincoln, and his closest companion, debonair Joshua Speed.

About to turn 21 when she arrives in Springfield in 1839, Mary teeters on the brink of old-maidenhood. She’s too sharptongued and politically astute for the town’s eligible men— including, she thinks regretfully, handsome merchant Joshua Speed, whom she initially finds more charming than his friend Lincoln, who is as tongue-tied with ladies as he is plainspokenly eloquent at the Illinois statehouse. But Mary becomes intrigued

by Lincoln, a rising Whig politician who finds a woman with brains and savvy enticing rather than off-putting. She doesn’t yet realize how destabilizing their budding romance is for Lincoln and Speed. For two years the men have shared a room and a bed, not in itself unusual for 19th-century bachelors, but as Lincoln hungrily learned the ways of polite society from his new friend, a deeper intimacy developed. By the time Mary appears, Lincoln and Speed, each profoundly lonely for his own reasons, share an unusually intense bond apparent to all. Alternating between Mary’s and Joshua’s points of view, Bayard chronicles the bumpy progression of the Lincoln-Todd courtship, its painful blow-up, and Lincoln’s subsequent collapse into crippling depression. There are no villains in this acute and compassionate portrait: When Speed warns Lincoln that Mary “will drain [you] dry,” we can see there’s some truth in this statement but even more truth in Lincoln’s retort, “Is it this girl you object to? Or is it any girl?” The author commendably refrains from imposing 21st-century sexual mores on the Lincoln-Speed relationship, profoundly loving but not physical in Bayard’s depiction. Mary Todd, by contrast, gets a welcome contemporary reappraisal as a woman of spirit and will, not the needy hysteric painted by traditional historians.

Not a lot of action, but in Bayard’s skilled hands, three complicated people groping toward a new phase in their lives is all the plot you need.

THE SPECTATORS by Jennifer duBois................................................ 13 AFTERNOON OF A FAUN by James Lasdun......................................25 INSTRUCTIONS FOR A FUNERAL by David Means....................... 26 FINDING AGAIN THE WORLD by John Metcalf.............................. 28 VERSES FOR THE DEAD by Douglas Preston & Lincoln Child....... 29 THE OLD DRIFT by Namwali Serpell..................................................32 RUTTING SEASON by Mandeliene Smith..........................................32 GREAT AMERICAN DESERT by Terese Svoboda................................ 33 THERE’S A WORD FOR THAT by Sloane Tanen.................................34 FALL BACK DOWN WHEN I DIE by Joe Wilkins............................... 35 THE LIGHT BRIGADE by Kameron Hurley........................................41 THE PRIORY OF THE ORANGE TREE by Samantha Shannon......... 42

BIG BANG

Bowman, David Little, Brown (624 pp.) $32.00 | Jan. 15, 2019 978-0-316-56023-8

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THE MALTA EXCHANGE

Religion and murder meet in Malta and Rome in this 14th entry in the author’s Cotton Malone series (The Bishop’s Pawn, 2018, etc.).

The pope has died, and His Eminence Kastor Cardinal Gallo schemes to get the job. Unfortunately, he is “radioactive” in the church, even “proclaimed a threat to all the faithful.” Oh, and he only fakes his religious belief. All he wants is power, and he will kill for it. His identical twin brother, Pollux, is a Knight of Malta but not a priest and certainly not his brother’s keeper. Meanwhile, series hero Cotton Malone is on a special freelance assignment from Britain’s MI6, looking for rumored secret correspondence between Churchill and Mussolini. And former Army Ranger Luke Daniels trails Kastor, who is from Malta, where much of the story takes place. Cotton finds a mysterious ring engraved with a Maltese cross and a five-word palindrome that’s spelled out a tad too often. Perhaps a secret lies in the engraved words.

He also uncovers documents hidden by Mussolini and looks for what’s hidden in an obelisk in Rome. The intrigue is intense as Kastor and a few goons will stoop to murder to abet his rise to the most powerful post in the Catholic Church. Thriller fans will have their violence fix, but the real fun is in learning about the inner workings of the church, its history dating all the way back to Constantine, and the troubled past of Malta. Cynicism about Christianity abounds; why else would Simon Wiesenthal have said that the Vatican has the best spy service in the world?

Popes Pius XI and XII never stood up to the fascists, and perhaps heaven, hell, and the Holy Trinity were invented in the third century merely to differentiate Christianity from Judaism.

Cotton is highly capable—“Failure was not his style,” meaning he fits in well among the can-do American heroes in the genre.

But Kastor and Pollux are the conniving hypocrites who really pop off the pages.

This one will appeal to Dan Brown fans and anyone else in the mood for a page-turning yarn.

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to a town in mainland Australia. One morning, teenage son Jarrah heads to school, artist and dad Finn goes to work in his home studio, and mom Bridget is preparing to leave for her job as a research biologist. Amid the bustle, for just moments 2-year-old Toby is unsupervised. Despite a supposedly secure gate, he gets into the backyard pool. His drowning shatters the family. Blackadder alternates short chapters from Jarrah’s firstperson point of view, Finn’s told in third person, and Bridget’s in second person, as if we overhear her talking to herself. It’s an effective way of building suspense, as we learn what each one knows—or doesn’t—about Toby’s death and about other members of the family. It also reveals their extreme emotions, ranging from blinding grief to rage, from delusion to suicidal impulses. Within weeks, the family’s once-warm relationships spiral into suspicion and guilt. Friendships and flirtations seem to turn into something more threatening. Then someone is arrested, and the stakes go even higher.

Fast-moving but emotionally resonant, the book effectively takes readers inside the minds and hearts of a family blindsided by loss and trying to decide whether they can move forward together, apart, or at all.

Berry, Steve Minotaur (416 pp.) $28.99 | Mar. 19, 2019 978-1-250-14026-5

WAITING FOR BOJANGLES

Bourdeaut, Olivier Trans. by Kramer, Regan Simon & Schuster (176 pp.) $25.00 | Mar. 19, 2019 978-1-5011-4591-9

A young French boy’s adventures with his unpredictable parents.

The nameless child narrator lives with his father, mother, and a pet crane dubbed “Mademoiselle Superfluous” in a French apartment crammed with a mountain of unopened mail, a TV crowned by a dunce cap, and a checkerboard-floored front hall. He’s enchanted by the life his parents lead, even when they pull him from school in part because he keeps missing days so the family can go on vacation—“to heaven,” his parents call it.

And after the boy’s father, George, leaves his job as a “garage opener” at his wife’s insistence, the family enters into a seemingly limitless stretch of time in which they vacation in Spain, play Nina Simone’s “Mr. Bojangles” on the record player, and mix umbrella-topped cocktails in relative bliss. But reality intrudes after a tax assessor shows up at their apartment to collect an unpaid balance. The mother, already “charmingly ignorant of the way the world work[s],” strays further from reality and toward increasingly erratic and dangerous behavior. As the mother’s mental illness progresses and George and his son attempt to protect her from herself and others, the novel probes the painful and often futile lengths people will go to for those they love. Told partly in rhyme (and interspersed with excerpts from George’s diary), Bourdeaut’s debut is both a charming tale that revels in colorful detail and language and a heart-rending depiction of the brutal march of mental illness. Its part-rhyming structure almost always feels organic (only occasionally

IN THE BLINK OF AN EYE

Blackadder, Jesse St. Martin’s Press (384 pp.) $27.99 | Mar. 19, 2019 978-1-250-19995-9

An absorbing psychological thriller explores how a family reacts when the unthinkable happens.

Death strikes in the first pages of this moving novel by Australian writer Blackadder (Chasing the Light, 2013, etc.). The Brennan family is adjusting to a recent move from Tasmania |

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digging deeper into the world of romance (via podcast) A long, dark January night is the perfect time for a romance novel. I just had the pleasure of catching up with a backlist title: Kresley Cole’s A Hunger Like No Other (2006), the first in her Immortals After Dark series. I don’t think I’ve read a paranormal romance since The Vampire Lestat (does that count?), but I was prompted by a delightful new podcast called Fated Mates, put out by romance author Sarah MacLean and Kirkus reviewer Jen Prokop, in which they’re planning to discuss each installment of Cole’s series, episode by episode.

Immortals After Dark is over-the-top fun, creating a world where every kind of creature co-exists: There are vampires, werewolves, Valkyries, sirens, furies, and more living peacefully (more or less) until, every 500 years, the Accession occurs, when they go to war in “a kind of mystical checksand-balances system for an ever growing population of immortals,” as Cole explains it. A Hun­ ger Like No Other features Emmaline Troy, half-vampire and half-Valkyrie, who’s shocked to learn she’s the fated mate of Lachlain MacRieve, the king of the werewolves (who turns out to be Scottish—who’d have thought?). After reading the book, it was fascinating to hear Sarah and Jen talk about it on the podcast, bringing their wealth of insight to a discussion of the book’s strengths and weaknesses, how it might have been different if it had been written today, and, as they put it in their podcast description, “feminism, patriarchy, modernity, and Moonstruck. Yes, the one with Cher.” If you want to dig deeper in the world of romance, this podcast is a great place to start.

Or you could start with one of two January romances that earned starred reviews from Kirkus: The One You Fight For by Roni Loren or Nightchaser by Amanda Bouchet (both published on Jan. 1). Happy reading! —L.M.

reading as cutesy or forced) and lends the narrative a sense of flow and momentum. But it’s the irresistible, childlike sense of delight—even in the face of unimaginable sorrow—that renders the novel a genuinely enjoyable reading experience and one that sparks complex and conflicting emotions.

A unique, evocative debut.

BIG BANG

Bowman, David Little, Brown (624 pp.) $32.00 | Jan. 15, 2019 978-0-316-56023-8 A kaleidoscopic portrait of America in the years leading up to the assassination of John F. Kennedy—and a chillingly prophetic vision of how we got to where we are.

This is a novel that Bowman, the author of Let the Dog Drive (1992) and two other books, left unpublished when he died of a cerebral hemorrhage in 2012. But unpublished does not mean incomplete. Bowman articulates a vivid point of view in this novel, or, more accurately, a series of points of view, beginning with a prologue in which a variety of historical figures (Norman Mailer; Elvis; J.D. Salinger’s young daughter, Margaret) react to the killing of the president. From there, the action shifts to Mexico City in 1950 and the confluence of some unlikely expatriates, including William S. Burroughs and E. Howard Hunt. “The novel you are about to read is true,” Bowman writes. “All the people who are mentioned—just as Bob Dylan sang—I had to rearrange their faces and give them all another name. Still, this novel is true history.” What Bowman is saying is that history is itself a story, one we tell as much as live. His juxtapositions of incidents and individuals are, in that sense, as much constructions of his imagination as they are mashups of overlapping events. Albert Camus and Maria Callas carry on an affair. JFK and Aristotle Onassis commiserate—and strategize—over the Kennedys’ stillborn child. Bowman is sly about acknowledging his inspirations: Mailer, as established in the opening, and also Don DeLillo, whose Underworld this novel resembles and who appears as a young advertising copywriter. And yet, to call the book derivative is to miss the point.

Instead, it is sui generis, the kind of novel that invents its form out of its own frenzied convocation of voices and moments: the 20th century in all its majesty and fear.

Bowman’s testament is both lament and celebration— for the betrayed promise of the United States as well as the tragedy of the author’s premature demise.

Laurie Muchnick is the fiction editor.

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Once Timothy Leary opened the Pandora’s box of LSD, everything changed. outside looking in

OUTSIDE LOOKING IN

Fitzhugh and Joanie Loney and their teenage son, Corey. Fitz has been struggling to support himself as a Harvard graduate student in psychology, one of Leary’s advisees, though one who is, as the title says, on the “outside looking in” as the psychedelic hijinks commence. It isn’t long before Leary seduces his student into the inner circle, where Joanie joins them and the nucleus of this family starts to destabilize as they make themselves part of a larger communal tribe. All in the name of science, as Fitz continues to believe, though Leary soon finds himself ousted from Harvard, his work discredited, his students in limbo. Is he a radical, reckless visionary or a selfpromoting huckster? Perhaps a little of both. Without advocating or sermonizing, and without indulging too much in the descriptions of sexual comingling and the obligatory acid tripping, Boyle writes of the 1960s to come from the perspective of the ’60s that will be left behind. It is Leary’s inner circle that soon finds itself on the outside—outside the academy, society, and the law—living in its own bubble, a bubble that will burst once acid emerges from the underground and doses the so-called straight world. In the process, what was once a

Boyle, T.C. Ecco/HarperCollins (400 pp.) $27.99 | Apr. 9, 2019 978-0-06-288298-1 Once Timothy Leary opened the Pandora’s box of LSD, everything changed.

Few novelists have benefited more from the freedom unleashed by the psychedelic revolution than the prolific Boyle (The Relive Box, 2017, etc.), but here he shows a buttoned-down control over his material, a deadpan innocence in the face of seismic changes to come.

It’s an East Coast novel of academia by the West Coast novelist, and it’s a little like reading Richard Yates on the tripping experience. The novel’s catalyst is Dr. Timothy Leary (“Tim” throughout), though Boyle has wisely opted not to make him the protagonist but instead a figure seen and idealized through the eyes of others. At the novel’s center is the nuclear family of

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THE BETTER SISTER

means to a scientific or spiritual end becomes a hedonistic end in itself. And Fitz finds his family, his future, his morals, and his mind at risk. “I could use a little less party and a little more purpose—whatever happened to that?” he asks, long after the balance has been tipped.

Keeping his own stylistic flamboyance in check, Boyle evokes a cultural flashpoint with implications that transcend acid flashbacks.

Burke, Alafair Harper/HarperCollins (320 pp.) $26.99 | Apr. 23, 2019 978-0-06-285337-0 When a corporate lawyer who divorced his first wife and married her more successful sister is found dead in his home in the Hamptons, his teenage son goes on trial for murder.

The fans who put Burke’s (The Wife, 2018, etc.) last domestic thriller on the bestseller list are going to be happy with this one, a gimmick-free murder mystery with a two-stage surprise ending and uncommonly few credibilitystraining plot elements. No double narrator! No unreliable narrator! No handsome psychopaths from central casting! And though there’s usually at least one character in this type of book who isn’t quite three-dimensional, most of the players here feel like they could have worked in a domestic novel without a murder, which is a kind of test for believability and page-worthiness.

The star of the show is Chloe Taylor, a woman’s magazine editorin-chief who has become a hero of the #MeToo movement and a target of misogynist haters on social media. The lumpy area beneath the surface of her smooth, pretty life is the fact that she married her boozy, unstable, maternally incompetent sister’s ex-husband and has been raising her nephew, Ethan, as her own son. When his father turns up dead, Ethan tells so many lies about his doings on the evening in question that despite the fact that he’s obviously not a murderer, he ends up the No. 1 suspect. As soon as he’s arrested, his real mom, Nicky, swoops into town and the sisters form an uneasy and shifting alliance. You’ll think you have this thing all figured out, but a series of reveals at the eleventh hour upend those theories. Most of the important people in this novel are women—the head cop, the defense attorney, the judge—and their competent performances create a solid underpinning for the plot.

You’ll kill this one fast and be glad you did.

PICKLE’S PROGRESS

Butler, Marcia Central Avenue Publishing (288 pp.) $27.00 | $16.99 paper | Apr. 9, 2019 978-1-77168-154-4 978-1-77168-155-1 paper Identical twins Stan and Pickle McArdle live tangled lives, fulfilling expectations imposed on them in childhood by their controlling mother. Until one day, they just don’t.

After leaving a party in the wee hours (drunk—as usual), Stan McArdle and his wife, Karen, get into an accident on the George Washington Bridge after Stan swerves to avoid a young woman standing in the road. Stan and Karen are injured (there’s blood), but they help the woman into their car and sit to await 8

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the cops. Fortunately, Stan’s twin brother, Pickle, is on the force, and it’s him they call, knowing he will cover for their drunkenness yet again. The book starts with a crash then slows as the characters’ personalities develop: fussy Stan, bossy Karen, insecure Pickle, and reclusive Junie, the woman from the bridge, who now lives in the basement of Stan and Karen’s brownstone.

They exist, as it were, in cages where they feel comfortable. But each squeezes between the bars occasionally to interact in an out-of-character way. Pickle eventually asks a question, which unravels a well-kept secret, which springs the locks of their cages, creating a twist. Butler’s debut is character-driven, with little action and lots of dialogue in which her people maneuver and manipulate to get what they want (or think they want). The characters are exaggerated, often unlikable, and unperceptive at times. Except maybe for Pickle, who, after all, does make progress crawling out of a mold he’d allowed himself to be cast into. There’s no closure to the question “Now what?” But if she’s willing, Butler has a great opportunity to write a sequel and develop more nuanced and introspective characters.

In this study of how childhood experiences shape perception, and how deception keeps people caged, Butler shows that nothing need be set in stone.

past impacted the future, including the secret of Hanna’s lost decade. Readers may want to urge Max to confess his secret to Hanna...but then there would be no story. Cantor elevates love as a powerful force that transcends tragedy and shows how music speaks to even the cruelest hearts.

A powerful story that exalts the strength of the human spirit.

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IN ANOTHER TIME

Cantor, Jillian Harper Perennial/HarperCollins (336 pp.) $16.99 paper | Mar. 19, 2019 978-0-06-286332-4 Max Beissinger and Hanna Ginsburg fall in love, but their relationship is destined for heartache when Hitler comes to power and outlaws marriage between Germans and Jews.

Max, a bookstore owner, stumbles across Hanna playing her violin at the Lyceum and is smitten. Hanna takes care of her sick mother and practices her instrument in hopes of earning a place in an orchestra. She conceals her growing affair with Max from her mother and sister, who would not approve of her dating outside the Jewish faith. Max has a secret, something he discovers in a journal his father kept, that causes him to suddenly vanish, often for months at a time, telling no one where he is going or where he has been. Hanna breaks off their engagement because of Max’s disappearances, but Max believes his secret can save Hanna should the fraught political climate take a turn for the worse as Hitler continues to rise in power.

One evening, when he and Hanna are at his bookstore, Nazis bash the door open. Max grabs Hanna to secure her in a hidden closet, but she breaks away and rushes back for her violin. The Nazis grab them both, and they are separated. The next thing Hanna knows, she awakens in a field, not remembering the events of the past 10 years. Max, who had a mysterious glimpse of the future, knows she must be alive and works to find her.

Cantor propels readers back and forth from the 1930s to the ’50s in this well-researched historical novel, showing how the |

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LEADING MEN

playwright’s life—but also plagued by doubts about his own purpose (“If Frank could not be the fountain, he could at least feel the spray,” Castellani writes). In portions of the novel set in 1953, Castellani imagines that the couple meets a glamorous Swedish mother and daughter, “these fierce and delicate greyhounds, with their taut slender necks,” the younger of whom, Anja Bloom, they take under their wings. She will become an international star known for her work in art house cinema, but her fame won’t soften her “haunted and hard” heart. Castellani (The Art of Perspective, 2016) shuttles between 1953, when Williams was collaborating with Paul Bowles to write the screenplay for Luchino Visconti’s Senso, and now, when Bloom’s star has faded but she is still in possession of Williams’ (imaginary) last creation, a terrible one-act play, Call It Joy, that he wrote to assuage his guilt for not visiting Merlo in the hospital in 1963 as he was dying of lung cancer. Will Bloom allow the play to be performed? In an ambitious act of ventriloquism, Castellani includes the entire script of the play here. There are only a few missteps in the novel; it is not clear, for example, why anyone would fall in love with the petty and cantankerous writer John Horne Burns.

Humane, witty, and bold, this novel imagines the life of a loving but tortured couple.

Castellani, Christopher Viking (368 pp.) $27.00 | Feb. 12, 2019 978-0-525-55905-4 To the spate of novels investigating the lives of famous artists and their relationships with the people who loved them most, add this intriguing take on Tennessee Williams and his lover of 15 years, Frank Merlo.

Nicknamed the Horse by Williams for his stocky build, Merlo was a man from a working-class Italian family in New Jersey who rose to elite echelons of society through his relationship with Williams, becoming friends with, among others, Anna Magnani and Truman Capote (whom neither he nor Williams cherished). Castellani’s Merlo, with a heart that’s “big and simple and practical,” is the focus here. Merlo is fulfilled by his work for Williams—arranging the details of the scatterbrained

BOY SWALLOWS UNIVERSE

Dalton, Trent Harper/HarperCollins (464 pp.) $26.99 | Apr. 2, 2019 978-0-06-289810-4

An Australian teen aspires to reassemble his broken home, bust a drug ring, and decrypt his brother’s odd pronouncements.

That’s a lot for a 12-year-old living outside of Brisbane to take on; and this, Dalton’s debut novel, also feels like a case of reach exceeding grasp. But it has the virtue of an earnest and bright narrator in Eli, who, as the story opens in 1985, is living with his mother and her boyfriend, Lyle, who are scraping out a living as small-time heroin dealers. His older brother, August, prefers to communicate by writing in the air with his finger, and his air-scribbles are generally koanlike and inscrutable: “Your end is a dead blue wren,” “Boy swallows universe,” and such like. The closest thing to a normal person in Eli’s life is Slim, an elderly small-time criminal whose knack for prison escapes in his youth has become the stuff of legend. After a falling-out with rival dealers, Lyle is killed, mom is sent to prison, and Eli loses a finger, leaving the brothers to live unhappily with their alcoholic father. Dalton’s novel is a kind of picaresque, built around comic scenes amid the grim setting, involving Eli’s taking cues from Slim in the ensuing years to either break into things (such as the prison where mom is sentenced) or break out of his desultory existence by angling his way into a journalism internship, where he’s determined to reveal the truth about the esteemed businessman who’s also a drug kingpin.

“A confident sneak can make his own magic,” Eli explains. But the 10

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A young man makes a demanding but soul-stirring trek through the kitchens of France’s finer restaurants. the cook

magical elements promised in the novel’s early pages, mostly via August’s non sequiturs, either get abandoned or turn out to be relatively pedantic matters of interpretation.

A likable debut that trades its early high-flown ambitions for dramatic but familiar coming-of-age fare.

to transplant surgery. The trajectory of this novel is a similar forward march, but it encompasses more emotional and sensory detail; it’s slim but potent. The story follows Mauro and his love of cooking from childhood (baking cakes in elementary school) and young adulthood (weaning his friends off fast food with homemade meals) to pursuing a culinary career in his native France. Every tale of culinary apprenticeship seems to demand a trial by fire in a perfectionist kitchen, and this one is no different: He’s chided, whacked in the head with a melon baller, and works endless hours. His social life vaporizes; his girlfriend leaves him. But the author does a fine job of exploring why someone like Mauro is still enchanted by the lifestyle. A love of food is part of it, and she writes lovingly about “the taste of a tomato, the subtlety of a stalk of asparagus, the crunch of a curly endive.” She’s less interested in food porn, though, than in the way the kitchen provides a kind of holistic calm: “He can cook by ear as well as with his nose, hands, mouth, and eyes.”

What Mauro’s life lacks is time to rest, and the anonymous narrator, vaguely suggested as a potential love interest, frames his life as bittersweet, shaped by success in the culinary world but

THE COOK

de Kerangal, Maylis Trans. by Taylor, Sam Farrar, Straus and Giroux (112 pp.) $22.00 | Mar. 26, 2019 978-0-374-12090-0 A young man makes a demanding but soul-stirring trek through the kitchens of France’s finer restaurants.

De Kerangal’s previous novel published in English, The Heart (2016), was a straightforward tale of organ donation from the donor’s death

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Fifteen sharp and cutting short stories. not everyone is special

resisting the compromises his increasing success demands, his “mental life simmering carefully like milk over a fire.” A life like Mauro’s is forever uncertain, the story suggests, but sweetened by an endless cookbook’s worth of options.

Too short to feel like a full-bodied novel but an admirable literary lagniappe.

sad sacks and beautiful losers you find in American fiction from Steinbeck to Bukowski. The opener, “Too Late for a Lot of Things,” resembles Sedaris’ infamous “Santaland Diaries,” if the smallish person at Santa’s Workshop were meaner and tormented by heartland hicks instead. Denslow clearly likes flash fiction, and you find it in ultrashort pieces like “My Particular Tumor,” which recalls the narrator’s obsession with his organs in Palahniuk’s Fight Club, and “Bio,” which chronicles the sad bylines of a writer in a failing marriage. Palahniuk’s underground echoes again in “Punch,” which imagines that citizens are given a pair of federally mandated vouchers to legally pummel someone every now and again. The stories here are deeply grounded in everyday life, mostly among people who aren’t making very much of their days, but Denslow allows a touch of magical realism every now and again. In “Proximity,” our leading man can teleport. “It just hurts like a bitch,” though. Meanwhile in “Dorian Vandercleef,” a writer discovers that the subject of his novel is in fact writing the same book—in the first person. Finally, in the title story, a troubled youngster in a strange institute yearns to discover his secret power. Elsewhere, the specter of death hangs over stories in ways

NOT EVERYONE IS SPECIAL

Denslow, Josh 7.13 Books (160 pp.) $16.99 paper | Mar. 27, 2019 978-1-7328686-2-5

Fifteen sharp and cutting short stories from Austin-based writer Denslow.

Denslow opens his debut collection by quoting a Tom Waits song, so it’s no surprise the characters within resemble the kinds of affable, sometimes-laughable

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MIRANDA IN MILAN

both morbid and morbidly funny. The narrator of “Mousetrap” gives his running monologue of suicidal thoughts before an ironic accident saves his life. Another guy attends the funeral of a friend, albeit in hopes of getting laid. When a best friend dies in “Extra Ticket,” the survivor doesn’t know how to process his grief.

A collection of heartfelt, deftly composed stories about the human condition.

Duckett, Katharine Tor (208 pp.) $14.99 paper | Mar. 26, 2019 978-1-250-30632-6 A sequel to The Tempest, with Miranda cast as the heroine, Prospero as the villain, and a Moorish witch as Miranda’s love interest.

A thoughtful novelist might have taken this idea in many interesting directions. She might have tried to match the atmosphere of Shakespeare’s great romance, weaving a tale of spirits and enchantment. She might have cast a hard eye on history, examining the workings of patriarchy and colonialism in her 17th-century Italian setting. She might have probed Miranda’s psychology and that of her father. Or she might have explored a complex and sophisticated civilization through the eyes of an innocent seeing it for the first time. If

THE SPECTATORS

duBois, Jennifer Random House (352 pp.) $27.00 | Apr. 2, 2019 978-0-8129-9588-6

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A mass high school shooting prompts a reckoning for a controversial talk show host and those around him in duBois’ (Cartwheel, 2013, etc.) third novel.

“He was Matthew Miller then,” remembers a man named Semi, the host’s lover in the 1970s, who knew him as an idealistic lawyer and then a candidate for mayor of New York. But in 1993, when The Mattie M Show publicist Cel is struggling to defuse reports that two high school boys who gunned down multiple classmates watched his show regularly, Mattie presides over a TV carnival of people confessing to “vices and depravities the average viewer didn’t even know existed.” The show’s evolution from a substantive public affairs program to a wildly popular venue for “rubbernecking and mayhem” is more explicable than Mattie himself, an empathetic interlocutor of the damaged and deranged on camera but a mystery to his staff off the air. Semi’s recollections of their affair and break-up intertwine with Cel’s story to create an atmospheric chronicle of New York’s bohemian gay subculture in the freewheeling 1970s, a keening depiction of the AIDS-stricken ’80s, and a poignant portrait of Cel, who got out of the rural working class via Smith but still lacks the self-confidence to claim—or even know—what she really wants. Mattie remains remote and enigmatic, even in his final encounters with Semi, which move him toward a fateful change of direction without readers ever really understanding him.

This is not a fault but simply a given of duBois’ accomplished narrative, which ranges widely to investigate contemporary culture through the complicated human beings who inhabit it: Cel’s party-girl roommate and a judgmental pal from Smith, a predatory journalist, the TV show’s seen-it-all producer, and one of the shooters (via a scarily thoughtful letter to Mattie) are among the other characters sketched with acuity and perception. The ending respects Matte’s opacity but allows him to make some kind of amends to Semi, while Cel gets the fresh start she deserves.

Elegant, enigmatic, and haunting.

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INTERVIEWS & PROFILES

Karen Thompson Walker IN THE DREAMERS, A MYSTERIOUS EPIDEMIC PUTS INHABITANTS OF A CALIFORNIA TOWN TO SLEEP

By Benjamin Rybeck Photo courtesy Dan Hawk

to fear just as a human being walking around, but as a writer I can channel some of what would otherwise be fear, because as a writer in a fictional universe, I’m controlling the story. What’s so frightening about real situations is that we don’t have control.”

Not to suggest The Dreamers, Walker’s nimble and lyrical second novel, functions purely as horror, but it does borrow familiar tropes, using them to tell a much larger tale of connection and defamiliarization in an America that seems particularly post-2016. “I’ve always been interested in contagion stories,” Walker says. “There’s something clarifying about life-or-death situations—how certain parts of ordinary human life collide with the extreme.”

Walker’s contagion takes the form of sleep: college students on one dormitory floor begin to nod off and then cannot wake up even though they still dream. Nobody knows why this is happening. The floor is quarantined. Outsiders—particularly a shy girl named Mei— fall under suspicion; students are shuttled to a detention center against their will. Elsewhere, cops and scientists roll in, as does the media (as in any good disaster). Others in the town harden themselves against their neighbors. They lock themselves away as survivalism takes hold. And that California air in this book, that California ground: so dry, so brittle. The Dreamers always hovers on the verge of smoke. Fire.

Reading the above may have brought to mind images of recent history that seem particularly of our moment: California blazes, detention centers, suspicion of outsiders.

“The way that I like to work,” Walker says, “is I come up with one fantastical element—this sleeping sickness—but after that I really want to set it in the real world.” (Her first novel, The Age of Miracles, also concerned disaster, albeit a more fantastical sort: the literal slowing of Earth’s rotation.) “Over time, as I’m writing, I’m always using things in our real world.” Let

Midway through Karen Thompson Walker’s The Dreamers (Jan. 15), a novel about a contagion that spreads throughout a California college town, she describes a lesson discovered at an inopportune moment: “…how disease sometimes exposes what is otherwise hidden. How carelessly it reveals a person’s private self.”

Reading this, I found myself thinking of how horror—good horror, anyway—can operate in fiction, reaching out its fingers to flick on a lamp in an otherwise darkened basement. We see things in horror beyond the horror, and the scares are actually about something far deeper.

“Sometimes I feel a little of my own fear,” Walker tells me over the phone one morning, “but I also think writing for me channels it. When I read the news, my imagination supplies details, and I’m quick to jump 14

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this not sound like opportunism—rather, cognizance.

She started writing this book well before 2016 (that year where something really did feel like it happened to Earth’s rotation—maybe not so fantastical after all) but certainly kept writing it afterward. “More than me trying to make a point about the state of our culture or world, I just want the book to feel real,” she says.

Walker’s authorial eye seems to see everything and everyone in this book. “I didn’t ever want the same moment of the epidemic or outbreak to be told in two perspectives….I tried to make every chapter advance the story of the spreading disease while also revealing something new.”

Like a contagion itself, I suppose—moving ever forward, the disease, and revealing frightening truths along the way, private truths—until something stops it or no one remains.

Benjamin Rybeck is the author of a novel, The Sadness, and general manager of Brazos Bookstore in Houston.

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Duckett intended to do any of those things, her debut novel shows little sign of it. The characters lack depth, and the writing lacks magic. As the story begins, The Tempest is over, and Miranda has returned to her native Milan with her father before setting out for Naples to marry Ferdinand. Nobody seems to like her much in Milan except a witch called Dorothea, who was born in Marrakech but for some reason is working at the ducal palace as a maidservant. Miranda may have fallen for Ferdinand, but that was only because she hadn’t yet set eyes on the likes of Dorothea. (O brave new world!)

Prospero storms around making pompous pronouncements and breaking his word: It turns out he never actually ditched his powers or drowned his books, and instead of forgiving his brother, the usurper Antonio, as he promised to do, he keeps him chained in the dungeon. Oppressive mysteries threaten vaguely. Miranda dreams of heaven: “Above her, the sky was endless and blue, a shade almost purpureal, cushioning flocculent clouds in its fathomless depths.” Thankfully, such almost purpureal prose is rare; for the most part Duckett sticks to unobjectionably pedestrian language.

The novel fails to explore its promising premise in any depth. Shakespeare this ain’t.

BESOTTED

Duclos, Melissa 7.13 Books (246 pp.) $16.99 paper | Mar. 13, 2019 978-1-7328686-4-9 In this debut novel, two women experience life, love, and loss as expatriates in Shanghai.

Sasha moved to Shanghai a few years ago to get away from her overbearing father. Liz arrives in China looking for something to shake up the predictability of her life. Both working at the same international school, Liz gratefully moves into Sasha’s spare room and the two become roommates, friends, and eventually lovers. They explore the expat community of Shanghai, a raucous group of English speakers that meet in bars every week to party and remind themselves they’re not alone, including Dorian, an architect and longtime acquaintance of Sasha’s who wants to put down roots. Liz, meanwhile, has made her own friend: Sam, a Chinese language-exchange partner who wants more from Liz than just help with his English. The book is told entirely from Sasha’s point of view, a kind of omniscient first person that takes a little bit of getting used to while also creating distance from the other characters, as the reader is unsure if they are getting an accurate picture of events or just Sasha’s thoughts on what might have happened. The relationship between Sasha and Liz, in theory the heart of the novel, is hard to connect to, as readers hear only one side of the story and many more anecdotes about fights and misunderstandings than moments of connection and love. The true star of this piece is the expat community that Duclos has perfectly |

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drawn. Any expat who has spent an amount of time in Asia will find at least something in there that speaks to their own experience. The worldbuilding is excellent.

Though the love story is a bit hollow, the parts about living as an expat in China ring true.

confessing to the murders of three young women, Vladimir is in prison, awaiting a harsh sentence; but Ilya is certain of his innocence, and although he is thousands of miles away, he sets out to prove it. Moving between the small town of Leffie, Louisiana, where Ilya is housed with the Masons, a pious, middleclass host family, and Berlozhniki, a former mining town where he shared a tiny apartment with his mother, grandmother, and brother, Fitzpatrick underscores the contrast between Western excess and Russian impoverishment. On the road to Leffie, Ilya whizzes past grocery stores—“the shelves were completely full,” he notices with amazement—video stores, pizza places, gas stations, and a huge building shaped like a pyramid with two glass walls: the evangelical Star Pilgrim Church, where the Masons worship every Sunday. Their house is sprawling, with foyers, a den, multiple bathrooms and bedrooms, and a heated outdoor pool that, Ilya is shocked to see, can be illuminated for night swimming. Of the Masons’ three daughters, only the sardonic Sadie, the eldest, seems to understand Ilya; as he soon discovers, she, like him, harbors secrets. He should not have been surprised, he reflects, “but his own secrets had made him myopic, made him forget that the world, even America, was a tangle of lives, all twisted and bent.” Ilya confides in Sadie, sharing his worries: Vladimir’s life, he reveals, is inexorably tangled. Unlike Ilya, who excelled academically, Vladimir struggled; he became a petty thief and drug addict, never keeping his promises that he would turn himself around. Beset with guilt, hoping desperately to save Vladimir, Ilya searches the internet for clues to the murders, and, with Sadie’s help, he discovers the corruption and betrayal that landed Vladimir in prison.

An absorbing tale imparted with tenderness and compassion.

LIGHTS ALL NIGHT LONG

Fitzpatrick, Lydia Penguin Press (352 pp.) $27.00 | Apr. 2, 2019 978-0-525-55873-6

Devoted brothers, living a world apart, are enmeshed in a mystery.

Making a poised, graceful literary debut, Fitzpatrick follows the aspirations and anguish of Ilya, a 15-year-old Russian exchange student who arrives in the U.S. burdened by worry about his older brother. After

GIRAFFES ON HORSEBACK SALAD

Frank, Josh with Heidecker, Tim Illus. by Pertega, Manuela Quirk Books (224 pp.) $29.99 | Mar. 19, 2019 978-1-59474-923-0 With help from comedian Heidecker (Tim and Eric’s Zone Theory, 2015, etc.) and illustrator Pertega, “pop-culture archaeologist” Frank (The Good Inn, 2014, etc.) adapts into a graphic novel a never-produced film collaboration between surrealist artist Salvador Dalí and classic-Hollywood absurdist Harpo Marx.

The first 40 pages of this graphic novel are mostly straighttext exposition, detailing how Frank came to reconstruct the unproduced film and explaining the brief time Dalí and Marx spent together in mutual admiration. This sluggish start sets the stage for what is to come: an illustrated adventure that kicks off in 1930s New York but eventually engulfs the world, thanks to “the Surrealist Woman,” an enigmatic beauty with fantastical reality-altering powers. We first encounter her through visionary businessman Jimmy, who discovers an artistic self he never knew was inside him when the Surrealist 16

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In a fantastical feminist adventure, three generations of women travel the world in pursuit of new opportunities. virginia woolf in manhattan

Woman arranges an otherworldly musical performance. As Jimmy and the Surrealist Woman fall in love, the happiness she feels triggers global chaos (the Great Pyramid floods, Venice runs dry, the streets of Paris suddenly all go in one direction).

Jimmy’s vulgar, ambitious, unfaithful fiancee, Linda, becomes enraged by the attention the Surrealist Woman receives— both from Jimmy and from society—and rallies the forces of order to prosecute the Surrealist Woman. The story is a bit on the nose about freedom of expression versus societal oppression and expectation. Most enjoyable are Groucho and Chico Marx, who work on behalf of the Surrealist Woman; their playful, punny dialogue contrasts with the stiff exchanges between Jimmy and Linda or Jimmy and the Surrealist Woman. Pertega’s art shines in detailed close-ups and as the story delves deeper into surrealism (dripping wax effects, rivers of hair, complex page layouts), while the plainer scenes and more distant perspectives render the characters flat.

An intriguing pop-culture artifact—more so for its background than its execution.

are usually solved by OWEN’s deus-ex-machina abilities. Kirklin and Laury are mostly ciphers, and not very interesting ones at that, but the banter between the drab Henry and the supercilious OWEN is worth the price of admission.

A fun, relatively harmless comic thriller about the nature of cities, the threats of technology, and how to blow stuff up good.

VIRGINIA WOOLF IN MANHATTAN

Gee, Maggie Fentum Press (471 pp.) $15.95 paper | Mar. 28, 2019 978-1-909572-10-2 In a fantastical feminist adventure, three generations of women—including Virginia Woolf, back from the grave—travel the world in pursuit of new opportunities.

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THE MUNICIPALISTS

Fried, Seth Penguin (272 pp.) $16.00 paper | Mar. 19, 2019 978-0-14-313373-5 A bureaucratic bean counter and a snarky artificial intelligence team up to find a terrorist working to destroy America’s largest near-future city.

Fried (The Great Frustration, 2011) offers a very weird debut novel that somehow manages to transport Conrad’s Heart of Darkness to a futuristic mega-city with a minimum of social satire but grand sociological observations about cities on the scale of Geoff Manaugh’s A Burglar’s Guide to the City (2016). Our Everyman hero is Henry Thompson, an efficiency expert with a murky government entity and, as one nemesis notes, “the biggest milquetoast bean sorter in the history of the United States Municipal Survey.” After a number of the agency’s facilities are bombed and its artificial intelligence platform is infected with a virus, Henry’s boss, Theodore Garrett, sends him to the futuristic city of Metropolis to hunt down the suspect. Henry’s partner in this venture is the aforementioned AI, OWEN, a harddrinking, newly sentient personality who manifests as a hologram but turns into a bulldog and faints at the sight of blood.

These two unlikely partners are chasing Terrence Kirklin, their agency’s station chief in Metropolis, who has clearly gone rogue.

Kirklin has disappeared with Sarah Laury, an 18-year-old Olympic gold medalist, playwright, genius, and, oh yeah, the daughter of the mayor of Metropolis. Fried can’t quite decide what he wants to play here—it’s too buddy-cop comic to be a hardcore thriller and too tongue-in-cheek about technology to be a serious social satire, but it’s still a fun read. The narrative is packed with irrelevant but fun-to-read set pieces including a gunfight in a museum, a couple of car chases, and a few deadlocks that |

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A teenage boy finally gets to know his absentee father, but not until after the man has fallen into a coma. the book of dreams

“Suddenly there’s time again; & I’m in it,” declares Woolf, the internationally acclaimed literary modernist who committed suicide in 1941, now resurrected in 21st-century New York City due to a thunderstorm and the mental focus of another author and critic, Angela Lamb, who travels from London to the U.S. and then Istanbul to deliver a paper at a Woolf conference. Distinguished British author Gee (My Animal Life, 2011, etc.) doesn’t worry too much about the questions arising from her icon’s peculiar comeback; she just breezes forward, rather like the revivified Virginia herself, who becomes increasingly eager to embrace her second chance at life. First published in Britain in 2014, the novel is presented in overlapping conversations as Angela and Virginia explore their sudden relationship, which is variously tetchy, competitive, caring, and celebratory.

Angela’s marriage to explorer Edward is failing, and she has parked her beloved teenage daughter, Gerda, at a boarding school in England for safekeeping during her own absence. But Gerda is being bullied at the school and decides to embark on a trip, too, to find her mother and possibly restore her parents’ relationship. Virginia and Angela, meanwhile, enjoy New York,

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buying clothes, drinking at the Algonquin, and visiting the Statue of Liberty, while bickering over writing, privilege, time passing, and the problems of the book business. Moving on to Istanbul, the novel’s conversations and speculations intensify, as do its longueurs and intermittent feel of a travelogue. But the delivery of Angela’s conference paper, a rousing paean to Woolf, writing, and seizing the day, heralds a moving conclusion.

An imaginative love letter to a literary hero is given vitality, depth, and charm through the playful intelligence of its seasoned author.

THE BOOK OF DREAMS

George, Nina Trans. by Pare, Simon Crown (400 pp.) $26.00 | Apr. 9, 2019 978-0-525-57253-4

A teenage boy finally gets to know his absentee father, but not until after the man has fallen into a coma.

The story opens as Henri Skinner, a former war reporter, jumps into the Thames to save a young girl from drowning. After Henri labors back onto shore with the girl and releases her, he stumbles into oncoming traffic and sustains serious injuries. Henri’s son, Sam, is surprised and devastated to learn that at the time of the accident, Henri had been en route to a father-son event at Sam’s school. With a stellar IQ and a membership card to Mensa, Sam is hardly a typical kid. He’s also a synesthete, meaning his senses overlap in ways that allow him to perceive information through intense interconnected sensory experiences. Without informing his mother, Sam begins visiting Henri in the hospital daily, hoping to draw his father out of the coma he has fallen into.

Sam grows acquainted with a slew of characters from the hospital, including a young girl named Maddie, who is also comatose, and Eddie Tomlin, the only woman who ever stole his father’s heart. As Sam’s visits continue, Henri’s prognosis looks increasingly bleak. Yet somehow, Sam feels himself bonding with his father in new and meaningful ways. Told from the alternating perspectives of Sam, Henri, and Eddie, the story contains many flashbacks, memories, and dream sequences as well as detailed tracking of Henri’s physical progress. Translated from George’s (The Little French Bistro, 2017, etc.) original German, the narrative moves at a gentle pace, often mimicking the repetitiveness that is borne of repeated visits to a sick room. The author uses Henri’s evolving mental state to explore possible states of existence and a shifting continuum of consciousness that occupies the spectrum between life and death. Although the story seems to stall at points, it raises interesting existential questions about the purpose and definition of life. Through the challenges and losses that each character endures, the author conducts an effective exploration of connections that transcend physical boundaries.

A slow-moving but poignant story about longing, nostalgia, and the pain of missed opportunities. |

MALAWI’S SISTERS

death in his or her own sometimes-destructive way: Malawi’s father and mother, Malcolm and Bet, rely on substances to deal with their pain, while Malawi’s two sisters, Kenya and Ghana, are forced to confront the realities of their relationships with their romantic partners, their parents, Malawi, and each other.

Several of the characters will be immediately recognizable to readers—the high-achieving but unsatisfied older sister, the hippie middle sister—and at times Hatter (The Color of My Soul, 2011) seems to want to shoehorn other storylines into the novel, such as the coming-of-age of Malawi’s nephew, Junior. Hatter does try to make her characters more than stock types, and she generally succeeds, weaving the events of the story with the characters’ pasts, unveiling their motivations, and encouraging readers to regard them with compassion, all while attempting to capture the energy of a larger social moment. But in an effort to seem evenhanded and tie a neat bow on an otherwise difficult and complicated story, Hatter defangs the movement she attempts to fictionalize and portray with respect.

Though it’s a nice effort, Hatter falls short of giving Black Lives Matter the literary treatment it deserves.

Hatter, Melanie S. Four Way (320 pp.) $19.95 paper | Mar. 15, 2019 978-1-945588-30-3 A family’s attempts to cope with loss are complicated when their personal tragedy forms the seed of a larger movement.

Malawi Walker, the youngest of three daughters of a prominent upper-middleclass black family from Washington, D.C., has recently moved to Florida to work as a teacher and be closer to a man she’s dating. On her way home after a long evening spent hanging out with a fellow teacher, Malawi crashes her car and, with no cellphone service to call for help, walks up to the home of Jeffrey Davies, a white man, who shoots her twice after she knocks on his door. When she succumbs to her injuries, the Walker family quickly unravels, each remaining member coping with Malawi’s

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CEMETERY ROAD

can’t compare to that of his long-dead violinist sister, Anna. In fact, the chain of vengeance goes back even further, since Cara’s grandfather Sergai Kaskov murdered Anna as payback for the time years earlier when Anna’s father and brother broke Kaskov’s finger bones in the gulag where they were imprisoned together because they feared him as yet another possible competitor in the days when she was still alive. Svardak succeeds in snatching Cara from her concert tour and hiding her out in the wilds of West Virginia as he cackles over the fate she’ll share with her most recent predecessor, violinist Marian Napier. Fortunately, Cara’s guardians, forensic sculptor Eve Duncan and Detective Joe Quinn of the Atlanta Police Department, and Michael, Eve’s preternaturally empathic 10-year-old son, are fully equal to the challenge of locating her before she can follow Niccolò Paganini and Jascha Heifetz into history. So for that matter is Cara herself, who’s so eager to consummate her recently professed love for Eve’s childhood friend Jock Gavin that she’s doubly watchful and resourceful in planning her escape. But restoring Cara to the bosom of her family is only one more chapter in the war declared by Svardak, who’s “crazy, not a ruthless sociopath,” as Joe helpfully observes, and who’s bent on eliminating everyone Cara loves before he returns to sweep her up again, this time for keeps, as a final tribute to his dead sister.

The densely woven backstory, the oracular speeches, the elliptically motivated vendetta, and the constant recourse to near-supernatural powers all suggest that what Johansen (Vendetta, 2018, etc.) is writing is not a fairy tale for adults but a fairy tale with a mostly adult cast.

Iles, Greg Morrow/HarperCollins (752 pp.) $28.99 | Mar. 15, 2019 978-0-06-282461-5 Bad things are astir on the banks of the Big Muddy, hallmark territory for homeboy Iles (Mississippi Blood, 2017, etc.).

“Buck’s passing seems a natural place to begin this story, because that’s the way these things generally start.” Yep. This particular bit of mischief starts when a Scoutmaster, surrogate father, and all-around good guy gets his head bashed in and his body dumped into the Mississippi. And why? That’s the tangled tale that Iles weaves in this overlong but engaging yarn. Thanks to the back-room dealing of a bunch called the Poker Club, the little river-bluff city of Bienville has brought a Chinese paper pulp mill to town and, with it, a new interstate connection and a billion dollars— which, a perp growls, is a billion dollars “in Mississippi. That’s like ten billion in the real world.” But stalwart journalist Marshall McEwan—that’s McEwan, not McLuhan—is on the case, back in town after attaining fame in the big city, to which he’d escaped from the shadow of his journalist hero father, now a moribund alcoholic but with plenty of fire left. Marshall’s old pals and neighbors have been up to no good; the most powerful of them are in the club, including an old girlfriend named Jet, who is quick to unveil her tucked-away parts to Marshall and whose love affairs in the small town are the makings of a positively Faulknerian epic. Iles’ story is more workaday than all that and often by the numbers: The bad guys are really bad, the molls inviting (“she steals her kiss, a quick, urgent probing of the tongue that makes clear she wants more”), the politicians spectacularly corrupt, the cluelessly cuckolded—well, clueless and cuckolded, though not without resources for revenge. As Marshall teases out the story of murder most foul, other bodies litter the stage—fortunately not his, which, the club members make it plain, is very much an option. In the end, everyone gets just deserts, though with a few postmodernly ironic twists.

Formulaic but fun.

LOST ROSES

Kelly, Martha Hall Ballantine (448 pp.) $28.00 | Apr. 2, 2019 978-1-5247-9637-2 On the brink of World War I, three women fight internal battles on the homefront.

Novelist Kelly (The Lilac Girls, 2016), who offered the perspectives of three women during World War II in her bestselling debut novel, turns back the clock to examine the lives of another female trio as the world enters the Great War. Connecting the two novels is Eliza Ferriday, the New York socialite with a heart for social justice, who is the mother of real-life Lilac heroine Caroline Ferriday. The book is a prequel, though it is a silk thread that binds the two stories. Eliza is enjoying the high life with her Manhattan and Southampton social set, making regular visits to Paris and St. Petersburg to sightsee with close friend and confidante Sofya Streshnayva as the world buzzes with talk of impending war. Eliza takes the threat more seriously than beautiful Sofya, a cousin of the Romanovs who, like most of her ilk, is living in a bubble of denial about the danger that lies ahead. When Sofya’s stepmother hires Varinka Kozlov, the daughter of a local fortuneteller, she unwittingly brings

DARK TRIBUTE

Johansen, Iris St. Martin’s (384 pp.) $28.99 | Mar. 26, 2019 978-1-250-07588-8 Think the competition among music students at Juilliard is fierce? Wait till you hear what the family of violinist Anna Svardak has done, and is prepared to do, to anyone they consider a rival.

By the time John Svardak sets his sights on Cara Delaney, he’s already murdered four other violinists on both sides of the Atlantic because their music-making 20

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HOUSE ON FIRE

trouble into their home. Although young Varinka is a kind soul, her family is closely connected to a pair of local thugs leading Bolshevik uprisings against the bourgeoisie White Russians.

Soon, Sofya’s family is caught in the crosshairs of a revolution, Eliza is powerless to help from New York, and Varinka must make a choice about where her loyalties lie. Though the writing is rich and vivid with detail about the period, the storytelling is quite a bit slower than in Kelly’s captivating debut, and both the plot and relationship development feel secondary to the historical scene-setting.

A nuanced tale that speaks to the strength of women.

Kistler, Bonnie Atria (416 pp.) $27.00 | Mar. 12, 2019 978-1-5011-9868-7 A late-night fender bender exposes a family’s fault lines in Kistler’s domestic suspense debut.

High school senior Kip Conley has been grounded since the state of Virginia suspended his license for operating under the influence, but tomorrow is Kip’s 18th birthday, and his father, Pete, and stepmother, Leigh, are out of town, so Kip borrows Pete’s truck and attends a house party. Just before midnight, Kip’s 14-year-old stepsister, Chrissy Porter, bursts in. Kip ignored her phone calls, so she biked through the rain to warn him that their parents are en route. Racing home, the kids swerve to avoid a dog and hit a tree. Although the damage is minimal, the truck is stuck, prompting a neighbor to call 911 and the police to arrest Kip, who has been drinking. Leigh hires her best friend from law school to defend Kip against what she presumes will be minor charges, but the next day, Chrissy suffers a fatal cerebral hemorrhage. Kip claims he’s innocent of manslaughter because, contrary to what he told the cops, Chrissy was driving when they crashed. Pete believes him, but Leigh accuses Kip of lying to save himself. Pete and Kip move out, and Leigh disappears into her job while investigators try to corroborate Kip’s account. Can the once “perfectly blended” clan survive the truth—whatever it may be? Subplots stemming from Leigh’s work as a divorce attorney tie into the central mystery and bolster the book’s narrative drive. Though Leigh’s maternal grief is palpable, she’s not the story’s sole focus; Kistler takes pains to explore the uniquely devastating ways in which the tragedy impacts Pete, Kip, and Chrissy’s other surviving relatives.

Evocative writing and wholly realized characters complement a multifaceted tale that’s both harrowing and profound.

THE CONVICTION OF CORA BURNS

Kirby, Carolyn Dzanc (344 pp.) $16.95 paper | Mar. 19, 2019 978-1-945814-84-6 Kirby’s assured debut depicts the travails of a displaced daughter in Victorian England.

Born to Mary Burns, a prisoner in Birmingham Gaol, infant Cora Burns is consigned to the local workhouse. She grows up there, makes one friend, Alice Salt, and excels at school, but then Alice drives her to commit a terrible crime. Her youth excuses her from prosecution, and at 16, Cora is sent to work at a nearby asylum, not knowing her mother is committed there. Like her mother, Cora has a child out of wedlock and is confined in Birmingham Gaol. Her child is also removed by authorities. This is only one of many parallels in Kirby’s multilayered narrative of grim coincidence, origin mysteries, and severed pairs, symbolized by the half medal Cora wears around her neck. Cora is determined and resourceful due to the hardships of her upbringing, but she is also capable of rage, which she mostly keeps contained—except on those unpredictable occasions when she doesn’t. Thomas Jerwood, the master of the house where Cora, upon release, is referred as a housemaid, is an amateur scientist whose treatises on nature and nurture appear every few chapters. Mrs. Jerwood is a bedridden madwoman who, when she spots Cora, upbraids her by another name, Annie. Meanwhile, Dr. Farley, resident physician at the asylum, is attempting to treat Mary Burns with hypnotherapy. His scientific observations are also interspersed in the narrative. Jerwood’s young ward (and guinea pig), Violet, befriends Cora but at times seems unusually distant, her appearance and accent slightly altered. The convoluted plot promises a thematic bombshell that never drops, although a Marxist gloss is attempted. Kirby makes no concessions to sentimentality even at the risk of alienating readers with an unappealing protagonist: Cora’s personality approaches the sociopathic as she guiltlessly exploits those around her. Still, the language is atmospheric and perfectly pitched, and the dialogue is spare and evocative.

An ambitious effort that, despite its imperfections, will keep readers riveted.

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THE SECRETARY

Knight, Renée Harper/HarperCollins (304 pp.) $26.99 | Feb. 12, 2019 978-0-06-236235-3 Having served her powerful employer at the expense of all else, a devoted secretary finds herself a pawn in her boss’s ruthless game—a betrayal that comes with consequences.

Reliable and conscientious to a fault, Christine Butcher is hired as secretary and personal assistant to Mina Appleton just as Mina is coming into power, having gently ousted her aging father from the family business. And so it is that Christine finds herself the right-hand woman to the new |

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the weight of a piano is a gentle meditation on the healing power of art—and its limitations Chris Cander got the idea for her new novel, The Weight of a Piano (Jan. 22), when she heard about someone trying to give away a piano. Intrigued by the predicament, she asked for more details and was inspired to write a story about Clara, a young woman whose father gave her a piano and, very soon after, died. It’s not unusual for people whose parents have passed away to feel the enormous weight of that absence, but for Clara, that emotional weight is matched by the weight of that piano.

Clara, who received the piano as a child, grows up to have a way with car engines but not much of a musical ear. The piano, with all Chris Cander its hassle and expense, carries with it Clara’s complicated feelings about her father and his expectations in giving it to her. It’s all she has left of him, but that doesn’t make it easy to deal with.

Little does Clara know, the piano has a long history, one that intersects with hers in ways she can’t imagine. Alternating chapters tell the story of Katya, one of the piano’s previous owners, a gifted Russian pianist whose life was marked by heartache but who found endless joy in her music.

But just because the piano came into Clara’s hands, does that make her responsible for all that weight, emotional and physical? What does it mean to respect the history of someone or something else without taking responsibility for that history?

“Just exploring [that question] made me feel better,” says Cander. “That speaks to a much broader set of concerns than just physical possessions; it speaks of cultural importance and social importance.” Ideas, experiences, and even physical objects draw people together. “Being respectful of that thread, that connection, is what makes us human.” —C.E.

Photo courtesy Lauren Volness

chair of Appleton’s Supermarkets, a chain that was once “synonymous with fair trade and good practice”—principles that don’t much interest Mina. Petite and polished—a media darling who charms the country on national TV—Mina demands total allegiance, and Christine, a workhorse who prides herself on absolute discretion, is only too happy to oblige. Catering to Mina becomes not just her duty, but her obsession; Christine serves Mina first and always, at the expense of her own family.

“We flourished together, Mina and I,” explains Christine. “She, undoubtedly, the dominant species. I, like a woodland plant, able to blossom in her shade. I was good groundcover, you might say.” When Mina’s business practices become the subject of a legal investigation, Christine is there—good groundcover— assisting her, making moves that will reroute the course of her own life. “I made some questionable choices,” she reflects ominously in the novel’s opening pages. “Choices I suspect many would have made in my position.” But the power dynamic will shift: Christine, the silent, watchful secretary, will not allow Mina’s betrayal to go unpunished—no matter the personal cost. Mina and Christine—neither quite fleshed out—seem to exist only in relation to one another; this is not a book about character but about mutual destruction. This gives the novel a somewhat flimsy quality, but what it lacks in substance it makes up for with style. Knight lays it on thick, foreshadowing the violence to come early and often, giving the book an over-the-top gothic quality; not subtle but an awful lot of fun.

A cinematic page-turner steeped in atmosphere and just awaiting its adaptation to miniseries.

OKSANA, BEHAVE!

Kuznetsova, Maria Spiegel & Grau (272 pp.) $26.00 | Mar. 19, 2019 978-0-525-51187-8

Uprooted at age 7 from her home in the Ukraine as her family immigrates to the U.S. and a new life, Oksana Konnikova grows up permanently seeking her place in the world.

Tragicomic and bittersweet, Kuznetsova’s debut treads the not-unfamiliar ground of immigrant alienation. Oksana’s biography from infanthood to her 30s, delivered in snapshot chapters that can seem like short stories, is the tale of a smart, rebellious outsider for whom family is the only constant. Oksana’s first American home, which she shares with her mother, father, and cougar grandmother, is a crummy apartment in Florida where she begins both the business of assimilation and a habit of impulsive, questionable behavior. From here on, the story is dotted with relationships explored, boundaries tested, and a roller-coaster home life, all infused with Ukrainian and Russian culture that Oksana has scarcely known firsthand.

Girlfriends, boyfriends, college, work, relocation from New York to the West Coast follow, and all the while Oksana—the darkly comic outsider with an urge to write—is yearning: “I wrote about how much my grandmother loved returning to the

Chelsea Ennen is an editorial assistant.

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When a man is accused of rape by a colleague he had a fling with 30 years earlier, a friend with ties to both parties tries to sort out what actually happened. afternoon of a faun

AFTERNOON OF A FAUN

Motherland, how I wished there was a place, or maybe a person, that could make me feel at peace like that.” Eventually such a person does enter her life, although inevitably accompanied by complications, leading to the book’s standout section, “The Yalta Conference,” in which Kuznetsova achieves her best synthesis of the novel’s touchstones: European literature and history; Oksana’s emotional quest; her unpredictability and sense of humor; and her love for her inexhaustibly lusty grandmother.

At last, the “poor futureless child,” so labeled because a Jersey Shore fortuneteller could see nothing for young Oksana in her crystal ball, finds her identity and her future.

An immigrant’s coming-of-age tale done with brio.

Lasdun, James Norton (160 pp.) $25.95 | Apr. 9, 2019 978-1-324-00194-2

When a man is accused of rape by a colleague he had a fling with 30 years earlier, a friend with ties to both parties tries to sort out what actually happened.

Lasdun (The Fall Guy, 2017, etc.) explores the social and psychological aspects of an abuse accusation in an expertly orchestrated and engaging novel set during the run-up to the 2016 election, back when candidate Trump’s treatment of women looked like it could cause him trouble. Marco Rosedale is a middleaged British television journalist now living in Brooklyn with his grown daughter, her partner, and his own somewhat younger Lebanese-Australian girlfriend. He has everything to lose when he hears from a British newspaper that a woman named Julia Gault is about

CHRONICLES OF A RADICAL HAG (WITH RECIPES)

Landvik, Lorna Univ. of Minnesota (320 pp.) $25.95 | Mar. 26, 2019 978-1-5179-0599-6

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When Haze Evans, the Granite Greek Gazette’s columnist of 50-plus years, suffers a stroke, the paper’s editor, Susan McGrath, chooses to reprint one of her columns each day while hoping for her

return to health.

Haze is a master at chronicling current events and interlacing them with memories from her life to form a poignant social commentary. She opens her heart to her readers and they grow to love her...although some are less tolerant of her open-book style, referred to as “puking on paper,” and others resent the political bent she reveals, earning her the name Radical Hag, which she cheerfully adopts while printing yummy recipes to offset her viewpoint. Her decades-old columns make a difference in the lives of a new generation of readers, especially Susan’s rebellious 15-year-old son, Sam. When Haze is in the hospital, Susan makes Sam, who’s at loose ends after his parents’ divorce, work at the Gazette, where he is charged with reading Haze’s old columns and choosing which ones to reprint. Finding nothing appealing in an old person’s writing, Sam fights the assignment but is inevitably drawn to Haze’s down-to-earth views. She piques his curiosity with the timelessness of her insights, and he shares her columns with his English class, which discusses them on Radical Hag Wednesday. Sam’s curiosity prompts him to snoop a bit in Haze’s office, leading him to a deep secret that she never shared with her readers and that brings new closeness to his relationship with his mother.

Landvik (Once in a Blue Moon Lodge, 2017, etc.) uses wisdom and her trademark humor to encourage readers to have a thoughtful response to the world and the people with whom they share it. A pleasure to read.

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Means’ fifth collection cements his reputation as one of the finest, and most idiosyncratic, practitioners of short fiction in contemporary literature. instructions for a funeral

THE BOY

to go public with an accusation against him in her memoir, based on a long-ago boozy fling which he recalls as consensual. His old friend, the unnamed narrator, is his main confidant as he moves from panic and confusion to maneuvering and mobilization. The narrator also knows Julia Gault; she was a protegée of his mother’s and he had a teenage crush on her back in the day; in fact, he had at one point ambitiously planned to write a fictional portrait of her “in the monumental manner of Proust’s Odette.” Lasdun hooks the reader on his narrative with brief, tautly controlled chapters, each one adding new evidence and detail and relying on acute observation of the sometimes-bizarre machinations of the psyche. “I genuinely didn’t know what I thought,” explains the narrator as his opinion “lurch[es] between an icy willingness to condemn every accused man without further questioning, and what appeared to be a perverse, atavistic loyalty to the patriarchy that would take hold of me like a temporary seizure, and from which I would emerge stunned at myself.”

Of the novels to come out of the #MeToo moment to date, none is more riveting, insightful, and unsettling. Lasdun is the perfect writer to navigate these troubled waters from the male perspective.

Malte, Marcus Trans. by Ramadan, Emma & Roberge, Tom Restless Books (448 pp.) $26.99 | Mar. 19, 2019 978-1-63206-171-3 A saga of a mute man’s lessons in love and combat in World War I–era France.

The hero of the first novel by Malte to be translated into English is a waif, a lover, and a soldier. But mostly he’s a symbol: His lusty, violent nature is designed to challenge notions of enlightenment in a society that brought us the Marquis de Sade and the Battle of the Somme. We meet him in southern France, of unclear provenance, wandering the countryside after his mother dies. After brief stints being cared for by a farming community and a circus strongman, he crosses paths with Emma, the young and cultured daughter of an esteemed scholar of apples. Cue the forbidden fruit: Though he can’t speak, the boy, dubbed Felix by Emma (after Mendelssohn), develops a friendship with his ersatz sister that soon shifts into relentless sexual experimentation. “Is it just me, or is it stifling in here?” Emma’s father asks, entering the room after one of their assignations, and it’s hard not to feel the same; from forestry to cooking to circuses to churches, practically no metaphor goes unviolated as Malte depicts the pair’s eager thrustings. The prose gets no less purple after Felix is called to war and he becomes more deeply sunk into humanity’s violent nature. (Or, as Malte puts it, alas: “His cannon heart, his mortar heart.”) Malte’s satire of bourgeois society and warmongering picks reasonable (if easy) targets, like a callow medical officer who calls war “the highest degree of civilization.” But leaving Felix speechless only cedes the floor to Malte’s overworked prose and dispiriting portrait of Emma, who’s introduced as an intellectual spitfire but degrades into a purveyor of melodramatic love letters. Pacifism and sexual freedom both deserve better.

Another reminder that war is hell, in exceedingly florid prose.

INSTRUCTIONS FOR A FUNERAL

Means, David Farrar, Straus and Giroux (192 pp.) $24.00 | Mar. 5, 2019 978-0-374-27981-3 Means’ fifth collection cements his reputation as one of the finest, and most idiosyncratic, practitioners of short fiction in contemporary literature.

The 14 stories here revolve around themes of dislocation, in both the personal and the collective realms. Means begins with a declaration: “I’ve been writing stories for thirty years now,” he observes, “many published, others not published but trashed, put to bed, dead in the water....

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There’s simply no way to distill or describe what’s in the stories, except to say I attempt, to say the least, to respect whatever each story seems to want.” The conditionality is revealing; in many ways, it marks the ethos of the book. Stories, Means is saying, don’t happen to us so much as they grow out of us, which makes them connective in the deepest sense. And yet, as is also true of the work in his previous collections, connection is fleeting, illusory, incomplete. In “The Chair,” a father tries to discipline his young son even as he understands the gesture to be futile in a larger sense. Every moment, in other words, contains the seeds of its dissolution. “As I lifted him and felt his weight,” the narrator reflects, “the purity of the moment vanished and I would smell the stale, tart odor under his collar while he smelled, I suppose, the smoke and coffee on my breath and something else that later, at some point, perhaps even in memory, he would recognize as the first hints of decay.” The title story, on the other hand, looks at things from the other end of the telescope: an older man’s instructions for his funeral, written (as it must be) while he is still among the living; “Everything, right now, is safe and cozy,” the story concludes. Think about the implications of that sentence: a man sitting in the drowsy security of his own existence, writing lines to be read by someone else after he is gone.

In this magnificent book, we find the stories of every one of us: absent and present, dislocated and connected, at the mercy of our history, our narratives.

Americans. Although Mariko is a central character, Elise’s personal growth is what drives the story—she must learn how to take control of her life even as she’s at the mercy of a government that sees her family as enemies. Readers may wish they could see more of Mariko’s experiences and hardships, but Elise’s story is still compelling and important.

An emotional and informative look at a shameful chapter of U.S. history that’s often swept under the rug.

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THE LAST YEAR OF THE WAR

Meissner, Susan Berkley (400 pp.) $26.00 | Mar. 19, 2019 978-0-451-49215-9

A German-American girl becomes best friends with a Japanese-American girl in an internment camp during World War II. Elise Sontag feels like a normal American teenager in 1943 even though her parents grew up in Germany. But then her father is arrested because the authorities think he might be a Nazi sympathizer, leaving Elise, her mother, and her brother all alone. Eventually, their family is able to be together again—in a family internment camp in Texas. Although there are others of German descent and also some Italians, the majority of the camp’s residents are of Japanese descent. People of different nationalities don’t often mix, but Elise becomes friends with Mariko, a JapaneseAmerican teenager who lived in LA before coming to the camp with her parents and siblings. Elise and Mariko make big plans to move to Manhattan together when the war ends, but before that can happen, Elise’s family is sent back to Germany. As the war rages on, Elise never stops hoping that she and Mariko will eventually reunite even as the world crumbles around her.

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FINDING AGAIN THE WORLD

last relationship and then with joy over her newfound love for Clancy. Seven years and countless bags of M&Ms later, she can barely squeeze into a size 18. Desperate and furious with Clancy’s disapproval, Alice is ready to defect to his enemy’s camp. There, at the posh Privation mansion, she joins six other women, including Daphne, a talented makeup artist who ended up at Privation despite her husband’s delight in her every curve.

Acrobat’s methods, however, quickly devolve from extreme to degrading. Naked weigh-ins, Machiavellian trainers, Byzantine exercise equipment, starvation rations, and speed (masquerading as not-so-mysterious “vitamins”) quickly melt off the pounds but also break down the women’s psyches. That is, until Alice, Daphne, and their roommate, Hania, decide to fight back. The consequences of Acrobat’s unmasking, however, remain frustratingly unclear. Meyers (The Widow of Wall Street, 2017, etc.) spins a compelling tale, raising critical questions about familial, social, and cultural messages about body image; each woman at Privation, fat-shamed on a daily basis, has lost her sense of self.

Yet Meyers’ portraits are also riddled with every stereotype of the overweight American woman, traumatized by well-meaning but bitterly critical mothers and judgmental husbands, stuffing down her emotions with handfuls of sugar and butter. Although Alice, Daphne, Hania, and the other women rebel against Acrobat’s evil plan, their lives post-Privation remain food- and bodysize obsessed.

A Cinderella tale for fat-shamed women that unfortunately misses the mark.

Metcalf, John Biblioasis (288 pp.) $18.95 paper | Mar. 19, 2019 978-1-77196-252-0 A dozen stories from a fine Canadian writer that explore the discomforts and occasional delights life offers.

Three boys discover a kind of outdoor Sunday school with games and parables run by a couple. After they join in, one of the youths steals the man’s fountain pen and destroys it violently. An old man compels a boy to come to tea, belittles his intelligence, and tries to force him to feel a hole in his leg from a Boer War bullet. A man in a wheelchair politely listens to two missionaries and as they leave shouts: “If I was standing up...I’d be six foot three.” That story is remarkable for three pages of painstaking detail describing how the disabled man manages a bath. Metcalf (The Canadian Short Story, 2018, etc.) displays a masterful deployment of well-observed, pointed details. A man resting at an outdoor cafe from his tour of Rome spends two pages following the movements of three lizards, which echo the inevitable routines and rancor that arise with organized travel.

Two of the better tales (“Ceazer Salad” and “The Museum at the End of the World”) appeared in a 2016 collection, The Museum at the End of the World. Another standout here is “The Estuary,” in which the troubled narrator shifts from a fitful talk therapy to a lyrical memory of seeing a pair of porpoises in Wales. In the comic, brittle “Gentle as Flowers Make the Stones,” a struggling poet works mentally on a few lines as he tries to get review work from an editor and anticipates being paid for a reading in a wealthy woman’s home. Harsh reality, hope, and caricature mingle in this tour de force. As Metcalf says in his previous book, “Writing is very hard work but at the same time it is delightful play.”

An exceptional collection.

LET ME OUT HERE

Pease, Emily W. Hub City Press (208 pp.) $16.00 paper | Mar. 19, 2019 978-1-938235-50-4 The feeling of living on the edge of a breaking point permeates these 16 rich, finely crafted stories.

Set throughout the South, these stories explore themes of isolation and the monotony of daily life, especially when that life is lived slightly apart from the rest of the world. Pease’s lead characters are often reaching toward something more: A reclusive family of faith hikes to a waterfall in hopes of healing a sick baby even though it’s clear the life is draining out of his tootiny body (“Submission”); a lonely young mother tries to find connection with her pastor husband’s collection of snakes and the girls who attend a nearby camp (“Primitive”); a college girl engages in a brief, secretive relationship with a cab driver in an effort to present herself as older and worldly (“The After-Life”).

Interspersed between the longer stories are short bursts of flash fiction: a page or two at most that capture a seemingly ordinary moment only to reveal the fraught emotion tangled at its core.

Though some stories are set as far back as the post–Vietnam War era (“The Blaming Heart”; “Church Retreat, 1975”), others hint at being more modern with mentions of Hannah Montana (“Birthday I”) and medical alert bracelets (“Hearing Is the Last

WAISTED

Meyers, Randy Susan Atria (288 pp.) $26.00 | May 21, 2019 978-1-5011-3138-7 How far will a woman go to lose weight? Acrobat Films intends to find out by hosting an extreme weight-loss program, but they may have chosen the wrong women for their documentary.

Alice signed up for Acrobat Production’s second documentary after ruining her husband Clancy’s awards night. His film, De Facto, lost to Acrobat’s debut: Waisted, the first in a planned trilogy examining women and weight.

Worse, Alice’s sheer fatness embarrassed him. When she married Clancy, Alice was thin—thin from heartbreak over her 28

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A woman walks a dog in a Miami Beach cemetery, and her dog finds a human heart. verses for the dead

VERSES FOR THE DEAD

Thing To Go”), yet all revel in the strangeness of uneasy relationships, whether with oneself or others. Pease’s debut collection is precise in its wording and raw and complex in its subject matter. Her characters are all poised at a precipice, though some realize this more than others, and are often surprised at how stark and ordinary the world is after a defining moment.

Pease’s prose demands attention and refuses to let readers avert their gazes from the near-constant sense of approaching disaster, a steady thrum of quiet doom. And yet, each story is all the more enticing because the humanity of the characters is not overshadowed by plot.

A compelling examination of what it means to survive when thriving seems to be an option only for other people.

Preston, Douglas & Child, Lincoln Grand Central Publishing (352 pp.) $28.00 | Dec. 31, 2018 978-1-5387-4720-9

The 18th installment in the Pendergast series by Preston and Child (City of Endless Night, 2018, etc.) gives the hero a partner in the hunt for a strange killer.

A woman walks a dog in a Miami Beach cemetery, and her dog finds a human heart. Soon more hearts turn up at the gravesites of women thought to have committed suicide a decade before. The FBI assigns agents Pendergast and Coldmoon to work with the Miami PD on the case.

Pendergast is highly successful in closing cases on his own but “was about as rogue as they came,” and suspects tend not to survive his investigations. Agent Coldmoon’s secret assignment is to keep a close eye on his partner, “a bomb waiting to go off,”

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who tends to do something “out of left field, or of questionable ethics, or even specifically against orders.” The current victims are women whose throats have been slit and breastbones split open to remove their hearts, all in quick and expert fashion.

The killer leaves notes at the graves, signed “Mister Brokenhearts.” This kind of weirdness is in Pendergast’s wheelhouse, as he’s an odd sort himself, quite outside the FBI culture. Rather like Sherlock Holmes, he sees patterns that others miss. He’s tall, gaunt, dresses like an undertaker, and always seems to have more money than the average FBI agent. Both men are great characters—Coldmoon curses in Lakota and prefers “tarry black” coffee that Pendergast likens to “poison sumac” and “battery acid.” They wonder about the earlier deaths and whether the women had really hanged themselves. For answers they require exhumations, new autopsies, and a medical examiner’s close examinations of the hyoid bones. Meanwhile the deeply troubled killer ponders his next action, which he hopes will one day wipe away his pain and guilt and bring atonement.

Alligators, bullets, and a sinkhole contribute to a nerve-wracking finish.

Readers will love the quirky characters in this clever yarn. Pendergast and Coldmoon make an excellent pair.

circumstantially, and Riske helps Vika try to sort out what really happened. After Vika is threatened, then assaulted, Riske intervenes and learns she is in fact a princess and also that her assailants are members of the same Bosnian gang that is bleeding the casino. Unraveling the connection, rescuing the princess, and driving fast cars exceedingly well keep Riske busy. Falling in love, even with a princess, seems a little déclassé for Simon Riske, whose loner identity was molded in a French prison, but Vika seems a pretty nice girl, and she’s worth billions.

Monaco, fast cars, rich women, bad Bosnians—what more is there?

THE DNA OF YOU AND ME

Rothman, Andrea Morrow/HarperCollins (256 pp.) $26.99 | Mar. 12, 2019 978-0-06-285781-1

A debut novel by a scientist that makes the lab feel like a real place, not clueless stage dressing.

Emily Apell, a bioinformatician fresh out of graduate school, has taken a job in a neuroscience lab at a famous research university in Manhattan overlooking the East River.

She’s hoping to discover a “pathfinder gene” that guides neurons to their targets in the olfactory bulb, connecting the brain to the input it needs to create the sensation of smell. (Before writing her novel, Rothman herself was a postdoc and research associate studying the neurobiology of olfaction at Rockefeller University.) Emily’s boss likes to pit his postdocs and researchers against one another while forcing them to collaborate. She and a co-worker find themselves drawn together in a confusion of attraction and rivalry that feels like fate. In this cutthroat world of elite neuroscience, Emily must choose between work and love. But why? New York’s a big place. Why not find a nice, calm web developer or language arts teacher or dentist who will support her passionate commitment to her career instead of sabotaging it? Or, better yet, a good therapist who can help her let go of her notion that she’s incapable of love and recognize assholes when she meets them? Sadly, Rothman doesn’t provide Emily with anything so sensible. What she does provide are a vivid sense of place and a well-paced, intelligently constructed story. And if readers may sometimes feel like shaking a little sense into her characters, well, isn’t that also true of many of the great romantics of literature (looking at you, Heathcliff and Juliet) as well as—face it—a fair number of one’s own friends?

The pleasure of this novel lies in Rothman’s sincere, straightforward, unpretentious prose wracked with the loneliness of young love.

CROWN JEWEL

Reich, Christopher Mulholland Books/Little, Brown (384 pp.) $28.00 | Mar. 26, 2019 978-0-316-34239-1 Simon Riske returns for another carstudded adventure.

Riske is a restorer of high-end automobiles—Ferraris, Bugattis, that sort of thing—who moonlights as a problemsolver to the wealthy, and this second caper (The Take, 2018) takes him to southern France and Monaco in the service of Toby Stonewood, managing partner of the Casino de MonteCarlo. Toby has been losing money, millions of dollars, from his casino, and he wants Riske to try to uncover how he is being cheated and who is doing it. Riske is well-qualified to undertake this assignment, having spent his younger years with the Corsican mob and being familiar with the ways of gangsters. His cover will be that he is to take part in the Concours d’Élégance scheduled there and drive in a time trial. When fate drops a Ferrari Daytona in his figurative lap, Riske is off to the races.

After minor complications on French highways, Riske arrives in Monte Carlo and quickly identifies the individuals involved in the casino scam. In addition, he makes the acquaintance of Vika, a particularly compelling woman, and allows himself to become involved in her problems. Vika’s mother has recently died in an automobile accident—the authorities rule it suicide, but Vika knows that cannot be correct, because her mother had poor vision and rarely drove at all and never at night. Further, Vika’s mother left Vika a disturbing voicemail that suggests she felt herself to be in some danger. Riske and Vika meet 30

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This is what happens when you move into a place nicknamed the “Murder House.” the woman in the dark

A WOMAN IS NO MAN

In his last sermon, the Prophet Muhammad said, “Observe your duty to Allah in respect to the women, and treat them well,” but in many Muslim countries, tradition relegates women to subservient roles. Isra Hadid, the heroine of Rum’s debut novel, has been reminded of this every day of her life.

Unable to complete school in Palestine, where she grew up, Isra was married off by her parents to American deli owner Adam Ra’ad and sent to Brooklyn, New York, where she was forced to live in the crowded Bay Ridge home of her in-laws, Fareeda and Khaled, and their three other children. Almost immediately tensions erupted, and the newly arrived immigrant found herself on the receiving end of near-daily beatings and verbal abuse. Conditions further worsened after Isra gave birth to four daughters in little more than five years—her lack of sons being evidence, Fareeda claims, of Isra’s deficiency. The situation shifts dramatically, however, after Isra and Adam are killed in an accident, leaving their children to be raised by the Ra’ads. Now, a decade after Isra’s and Adam’s deaths, their oldest child, Deya, age 18, receives a mysterious message from an unidentified source, asking her to travel to a Manhattan bookshop. When she does, an estranged family member reveals some jarring truths about the family’s history. More importantly, the disclosure gives Deya the tools she needs to take charge of her life rather than allowing Fareeda and Khaled to marry her off. In a note accompanying an advance copy of her book, Rum acknowledges that writing her intergenerational saga meant “violating [the] code of silence” and might even bring “shame to [her] community.” Nonetheless, in telling this compelling tale, Rum—who was born in Brooklyn to Palestinian immigrants herself—writes that she hopes readers will be moved “by the strength and power of our women.”

A richly detailed and emotionally charged debut.

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stay for her and a car accident for Joe that might have been in response to her breakdown. When Sarah takes one too many sleeping pills one night, her family is convinced she’s attempted suicide, and no one believes her when she insists that she didn’t.

Looking for a fresh start, Patrick says they can get his childhood home at a steal, but Sarah isn’t convinced. Patrick is obsessed with the house, a once-beautiful Victorian on the Welsh coast that’s been vacant for 15 years after a man named Ian Hooper brutally murdered nearly an entire family there. Patrick tells Sarah that the sea air is just what they need but that she’ll have to use the entirety of her paltry inheritance to help pay for it.

Of course, Sarah acquiesces, and chaos inevitably ensues. The house is a dump, and they don’t have the funds to fix it up. Patrick is spiraling, and so are the kids. As Sarah gets to know a few of the townspeople, including a sexy gallery owner, she learns that the story of the Murder House is more sinister, and close to home, than she could have imagined. From the get-go, Patrick is squirrelly, insulting, whiny, and, eventually, downright abusive, making it hard to imagine why poor Sarah married the guy in the first place. He makes her take debilitating meds for her so-called suicide attempt, burns her sketchbooks, and, during one memorable dinner with his co-workers, forces her to eat calamari, which she’s allergic to, then claims to have forgotten about her allergy. There are some creepy elements, like phantom wind chimes, cold spots, and a lurker watching the house. Then there’s that cellar, which is assigned special significance early on. The bones of a good story are here, but, in such a crowded field, Savage’s derivative debut doesn’t innovate on the usual domestic suspense tropes (there’s even the requisite asides by the presumed villain).

Yawn.

Rum, Etaf Harper/HarperCollins (336 pp.) $26.99 | Mar. 5, 2019 9780-0-62-69976-3

THE ISLAND OF SEA WOMEN

See, Lisa Scribner (384 pp.) $27.00 | Mar. 19, 2019 978-1-5011-5485-0

On an island off the South Korean coast, an ancient guild of women divers reckons with the depredations of modernity from 1938 to 2008 in See’s (The Tea Girl of Hummingbird Lane, 2017, etc.) latest novel.

The women divers of Jeju Island, known as haenyeo, don’t display the usual female subservience. Empowered by the income they derive from their diving, harvesting seafood to consume and sell, haenyeo are heads of households; their husbands mind the children and do menial chores. Young-sook, See’s first-person narrator and protagonist, tells of her family and her ill-fated friendship with Mi-ja, who, rescued from neglectful relatives by Sun-sil, Young-sook’s mother, is initiated into the diving collective headed by Sun-sil. The girls grow up together, dive together, and go on lucrative assignments in the freezing waters near Vladivostok, Russia. They are also married off together, Mi-ja to Sang-mun, who, as World War II

THE WOMAN IN THE DARK

Savage, Vanessa Grand Central Publishing (352 pp.) $27.00 | Mar. 12, 2019 978-1-5387-1429-4

This is what happens when you move into a place nicknamed the “Murder House.”

The Walkers, artist Sarah and structural engineer Patrick, have a 15-yearold daughter, Mia, and a 17-year-old son, Joe, and they’re happy. Well, they were. Sarah’s mother died six months ago, and it just about broke her, resulting in a hospital |

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progresses, is enriched by collaborating with the Japanese, and Young-sook to Jun-bu, a neighbor and childhood playmate. The novel’s first half is anecdotal and a little tedious as the minutiae of the haenyeo craft are explored: free diving, pre-wetsuit diving garb, and sumbisori, the art of held breath. As two tragedies prove, the most prized catches are the riskiest: octopus and abalone. See did extensive research with primary sources to detail not only the haenyeo traditions, but the mass murders on Jeju beginning in 1948, which were covered up for decades by the South Korean government. As Jeju villages are decimated, Young-sook loses half her family and also, due to a terrible betrayal, her friendship with Mi-ja. The tangled web of politics and tyranny, not to mention the inaction of U.N. and American occupiers leading up to the massacres, deserves its own work, perhaps nonfiction. In the context of such horrors, the novel’s main source of suspense, whether Young-sook can forgive Mi-ja, seems beside the point.

Although this novel’s reach exceeds its grasp, it is a necessary book.

The children and the children’s children of these women find themselves inexorably, absurdly, and at times tragically drawn together through the history of both Zambia and the patch of land where their ancestors first collided. Blending intimate and at times implausible events with real-life history, this first novel

by Serpell—a Zambian writer who teaches at the University of California, Berkeley, and who’s won the Caine Prize for African Writing for her short story “The Sack”—enchants its readers with prose as luxuriant and flowing as Sibilla’s hair.

Comparisons with Gabriel García Márquez are inevitable and likely warranted. But this novel’s generous spirit, sensory richness, and visionary heft make it almost unique among magical realist epics.

RUTTING SEASON

Smith, Mandeliene Scribner (240 pp.) $25.00 | Feb. 12, 2019 978-1-5011-9270-8

THE OLD DRIFT

This arresting debut short story collection often finds its protagonists poised between disaster and redemption.

It’s not always easy to foresee how the stories in Smith’s collection will end.

In “Mercy,” recently widowed Pam is doing her best to take care of her young kids and the animals on her horse farm, but things keep dying: the kids’ puppy, the kittens, goldfish, a duckling, the barn cat, some chicks and goats. Even the hamster has gone missing. When Pam distractedly lets her beloved Thoroughbred, Ace, get into the grain bin—“even an hour of gorging on grain could kill a horse,” the reader has been warned—it looks like the death toll on the farm will climb further. Will it? “Rutting Season” follows a chain of office misery—Ray the computer guy’s unrequited crush on Lisa, in fundraising, prompts a lunchroom encounter in which Ray treats his assistant, Carl, cruelly—that may lead to a workplace shooting. Can an unexpected act of kindness deflect the violence? “Siege” also hinges on a decision about whether to come out shooting or surrender to life’s disappointments and injustices. Will Amber, a young woman who picks up her late mother’s boyfriend’s gun after he has been killed, choose violence or victimhood...or both? Yet the unpredictability of the nine stories here, many of which deal with matters of life and death, is only part of their charm. Nuanced and empathetic, at times dangerous, tragic, or redemptive, these stories find their subjects in the midst of pivotal moments in their lives, as they struggle with impulses and actions both animalistically urgent and deeply, hauntingly human.

At once powerful and delicate, compassionate and cleareyed, this book is sure to breed interest in a new literary voice.

Serpell, Namwali Hogarth/Crown (592 pp.) $28.00 | Mar. 26, 2019 978-1-101-90714-6 The past, present, and future of an African nation is filtered with humane wit, vibrant rhetoric, and relentless ingenuity through the interweaving sagas of three very different families.

The year is 1904, and an itinerant would-be photographer named Percy Clark has wandered from his native England to a colonial outpost along the Zambezi River in what was then known as the Northwestern Rhodesia territory. One momentous day, Clark, addled by fever, is stumbling around the lobby of the Victoria Falls Hotel and somehow manages to inadvertently pull a hank of hair from the pate of the hotel’s Italian manager, whose 5-year-old daughter angrily responds by striking an “innocent native” passer-by so hard that “he became an imbecile.” From the moment that inexplicable calamity occurs, the descendants of these individuals find their respective fates entwined through what’s left of the 20th century and beyond as the land around them morphs into the nation of Zambia. Sometime in the 1960s, for instance, Percy’s wealthy granddaughter, Agnes, deprived by blindness of a promising tennis career, falls in love with a brilliant black exchange student whom she accompanies back to the soonto-be-independent Zambia he calls home. During those same years, Matha, the precocious granddaughter of the poor assault victim, is among several math-and-science prodigies recruited by the country’s Minister of Space Research to train for a mission to the moon by decade’s end. Strangest of all these progenies is Sibilla, the granddaughter of the hotel manager, who is born with streams and streams of hair that never stops growing—and apparently makes things grow out of the ground, too.

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Svoboda returns to her art’s quintessential landscape to relate the overlapping epochs of the great American desert. great american desert

NORTHERN LIGHTS

In 1997, a Minnesota teenager searches for his mother amid the temptation of sex and drugs.

Strom’s debut novel follows Shane Stephenson, who’s trying to find his mother following the sudden death of his father. Shane’s mother abandoned them a long time ago, leaving her son a $100 bill and sending him a Christmas card with a return address in Holm, Minnesota. Shane has long hair and an androgynous appearance, and he clearly doesn’t fit into the small town of Holm, where he’s gone looking for his mother.

The people there vilify homosexuality, and femininity is not welcome in anyone other than a woman. He quickly meets a group of teenagers that includes Jenny, J, Mary, Sven, and Russell. As it goes with teenagers, the members of the group engage in a series of romances. Sven stands out as the town bully, cruelly attacking Shane both verbally and physically every time he sees him, calling him “faggot” whenever he can, and organizing a parade with his friends dressed in traditional Klan attire holding Confederate flags and screaming for freedom and justice.

Although Shane came to Holm with the specific goal of finding his mother, who turns out to have left just over a year ago, he quickly falls prey to the activities of bored teenagers in small towns: He starts up a drunken relationship with Russell, shoots up speed with J as often as he can, and deepens his relationship with Jenny between fixes. Strom paints a portrait of small-town life that is sure to make readers shiver. He sets up a narrative space in which a young boy is looking for his mother and quickly swerves, giving us death, alcohol, addiction, drugs, sex, bigotry, all wrapped up in the neat package that makes up Holm. Shane is heartbreaking, and readers will have a hard time parting with him after the book is over.

A powerful depiction of the currency of intolerance and addiction in one small town.

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they spring into action. As the narrator (a first-person plural voice that encompasses the quintet) notes, “If you need something done, you ask us girls.” “Us girls” are Banu, an artist and handywoman whose grandmother holds a position of prominence as one of the original residents of Heaven; Deepa, whose impaired sight leads her parents to keep her out of school; Joy, who is transgender and an exceptional student; Padma, who came to Heaven from a rural village and whose complex family dynamics put extra pressure on her; and Rukshana, who is coming to terms with her queer sexuality and her status as a Muslim.

Though the plot is nominally about the fight to save Heaven, Subramanian (Dear Mrs. Naidu, 2015, etc.) is more interested in episodically filling in the backstories of the five girls and their mothers, in the process tackling some of the most trenchant issues facing Indian women in particular—casteism, arranged marriage, forced sterilization—as well as women all over the world. This is Subramanian’s first novel for adults, although it isn’t fully clear why it isn’t YA. It has the heart-on-its-sleeve melodrama of some of the most successful teen novels and films, though it will likely also appeal to adults wanting to tuck in to a novel which is like the brainy big sister of a Lifetime movie.

A girl power–fueled story that examines some dark social issues with a light, occasionally saccharine, touch.

Strom, Raymond Simon & Schuster (272 pp.) $26.00 | Feb. 12, 2019 978-1-5011-9029-2

GREAT AMERICAN DESERT

Svoboda, Terese Mad Creek/Ohio State Univ. Press (216 pp.) $21.95 paper | Mar. 12, 2019 978-0-8142-5520-9 Svoboda (Anything That Burns You: A Portrait of Lola Ridge, Radical Poet, 2016, etc.) returns to her art’s quintessential landscape to relate the overlapping epochs of the great American desert.

“Camp Clovis,” the first of the 21 stories that make up this collection, opens in the Pleistocene era among the Clovis people, a Paleo-Indian community who live in what will become the American Great Plains. The community’s teenage boys have been sent away to camp, where they will engage in “boy’s footraces, showing off underwater, crafts with leather, spear point chiseling, campfires—the usual,” to keep them out from under their mothers’ feet for the long summer months. When the engaging innocence of their boyhood is threatened by elements outside their control or understanding—global climate change, overhunting of keystone species, encroachment by other cultures on Clovis’ territory—their bewildered bravado and ageless little-boyness provide a bridge from their time to our own. The final story in the collection, “Pink Pyramid,” takes place on the same land in a far distant future when almost all animals are extinct and “electronics control...even the wind, and the turning of the Earth.” The story’s unnamed male and female characters operate as a cross between scavengers and disaster tourists, drawing ever closer to the eponymous

A PEOPLE’S HISTORY OF HEAVEN

Subramanian, Mathangi Algonquin (304 pp.) $26.95 | Mar. 19, 2019 978-1-61620-758-8

A group of Bangalore schoolgirls attempts to save their “slum” from demolition.

Heaven is a place on Earth—more specifically, it’s a slum in Bangalore, India, so named for a broken sign that spells out the Sanskrit word for heaven. For five government-school pupils, it’s the closest thing to heaven they’ve got, so when their homes are slated for demo, |

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pyramid which houses the unextinguished fires of environmental holocaust. In spite of their alien surroundings—all life systems mechanized, all earth soaked with poison—these characters radiate a desire for connection, authenticity, and experience that is as familiar to a modern-day reader as it would have been to one of the Clovis boys at camp alongside their ancient river. In between, characters pack their windows against the dust of the 1930s, bury WWII’s leaking munitions under the dry soil of the South Dakota plains, get engaged in snowstorms, set dogs on fire, attend their dying relatives, disregard their living children, and generally live the sort of brief, bloody, tender, or brutal lives they have always lived in a part of the world that both sustains and destroys with its implacable emptiness. A poet, memoirist, librettist, translator, and more, Svoboda has always engaged language as a tool of exploration.

Her enigmatic sentences, elliptical narratives, and percussive plots delve into the possibilities of form, genre, and plausible futures, but always with an eye on the vast subterranean psychologies of her all-too-real creations.

A challenging author’s take on the most challenging of subjects—the survival of our species from its distant beginnings into the possible future.

family members who remain in the outside world have troubles of their own: Henry’s girlfriend is cheating on him, and now his mother, whom he crossed the globe to escape, has shown up in Los Angeles. Marty’s daughters, Janine and Amanda, have never fully recovered from their mother’s long-ago suicide; Janine has the additional burden of having been a huge television star when she was a child, while Amanda’s twin daughters hate each other. As the characters weather tough times and deal with hurts old and new, love and humor light the way.

Full of intelligence and charm.

FLASHBACK HOTEL

Vladislavić, Ivan Archipelago (464 pp.) $18.00 paper | Mar. 5, 2019 978-1-939810-11-3 In these 22 stories, South African writer Vladislavić employs tones ranging from surreal absurdity to meditative wit as he delves into themes of isolation, rac-

ism, and politics.

This volume collects two separate story collections published earlier in South Africa: Missing Persons (1989) and Propaganda by Monuments (1996). The 11 stories of the first book are suffused with humor, both absurd and surreal. In “Journal of a Wall,” the narrator chronicles the building of a wall over a six-month period, finding himself alternately fascinated, obsessed, or even tormented as he spies on the bricklayer creating this barrier. And as in all “wall” narratives, one of the themes readers are asked to contemplate is what’s being walled out—and what’s being walled in? Kafka would feel at home in a number of the stories here. In “The Box,” for example, the narrator reaches through the screen of a television set and grabs the diminutive figure of a prime minister, who is kept in a cage, fed, and watered in a spare room. The title of “When My Hands Burst into Flames” says it all—this phenomenon is presented as both fantastical and routine, though by the end of the story the narrator begins to relish the destructive power that has been unleashed: “Later I think I will torch the park across the street. Meanwhile, I am content to play with fire.”

The stories in Propaganda by Monuments are more realistic but equally witty. One of the best is the title story, which is laugh-outloud funny. Pavel Grekov, a Russian translator, has gotten a letter from Boniface Khumalo, a South African who has “pedestals galore” and wishes to acquire a statue of Lenin. Known for his “command of a fractious and somewhat eccentric English vocabulary,” Grekov reassures Khumalo that he’s “overwhelmingly cocksure that your request re: SURPLUS STATUE will meet with a big okey-dokey fairly forthwith.”

Sparkling, facetious, and entertaining.

THERE’S A WORD FOR THAT

Tanen, Sloane Little, Brown and Company (384 pp.) $27.00 | Apr. 2, 2019 978-0-316-43716-5 A long-divorced pair of 70-something celebrities runs into each other at a ritzy Malibu rehab center.

Tanen’s (Are You Going to Kiss Me Now?, 2011, etc.) first novel for adults follows a YA title and a hilarious series of illustrated books featuring yellow chicks. Though her delightful sense of humor infuses the plot and dialogue with sparkle, the characters and their predicaments are not played for laughs, or not only for laughs— along with the farcical situations come moments of real emotion and insight. The novel’s title refers to German words that express concepts that take a whole sentence to convey in English, like Verschlimmbessern (“to make matters worse in the process of trying to improve them”) and Schnapsidee (“a plan so stupid, it must have come from a drunken mind”). These and three other such terms are the titles of the five sections of the book. In the first, two senior citizens with celebrated careers turn their lives into train wrecks. Marty Kessler is a retired Hollywood producer whose gold-digging girlfriend packs him off to Directions Rehabilitation Center for yet another stint in rehab when his opioid-and-benzo habit veers out of control. Bunny Small is a gin-swilling British author with a series of bestselling books for teens about a character named Henry Holter. When her estranged adult son, also named Henry Holter, fails to show up at the 70th birthday party thrown for her by her agent, she goes off the rails altogether. She, too, is sent to Directions. The 34

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Wilkins packs a lot of story and stylistic wallop into this gripping, outstanding novel. fall back down when i die

LOT

FALL BACK DOWN WHEN I DIE

Washington, Bryan Riverhead (240 pp.) $25.00 | Mar. 19, 2019 978-0-525-53367-2

Wilkins, Joe Little, Brown (256 pp.) $26.00 | Mar. 12, 2019 978-0-316-47536-5

A sensitive portrait of life among Houston’s struggling working class.

At the center of this debut collection is a preternaturally observant, unnamed Afro-Latinx boy who narrates many of the stories. His philandering father eventually abandons the family, while his mother’s pain at this betrayal permeates the home even after the father’s disappearance. His brother, Javi, is a neighborhood drug dealer who reacts to this dysfunction with mean-spirited aggression against the narrator; his sister, Jan, distances herself from the family. Amid this domestic strife, our narrator begins to discover his sexuality through a string of encounters with other neighborhood boys. This is difficult for the narrator, whose brother is an intensely disapproving and homophobic figure. In the title story, the narrator recounts that “Javi said the only thing worse than a junkie father was a faggot son.” When the narrator’s sexuality isn’t met with disdain, it is mostly obscured in silence, in his family’s collective inability to recognize who he is. But we don’t get much of a chance to know him, either: Though he is the collection’s epicenter, he functions more like a reader stand-in than an actual character, providing us access to his world. The collection ripples outward from his perspective, using story to bring Houston’s myriad cultures to life.

In “Alief,” we’re introduced to Aja, a married Jamaican immigrant who begins a torrid affair with a local white boy—much to the chagrin of the Greek chorus–like neighbors. Their nosy disdain sets a tragic denouement in motion. In the collection’s centerpiece, “Waugh,” a sex worker named Poke and his pimp, Rod, deal with the profession’s inherent dangers; rather than painting a portrait of abjection, however, Washington gives us the story of a tightknit community of marginalized people who cling to one another for safety and support. For all of this, however, there’s something airy about this book. Despite its aspiration to represent a city, its prose often feels maddeningly abstract. “Elgin” begins this way: “Once, I slept with a boy. Big and black and fuzzy all over. We met the way you meet anyone out in the world and I brought him back to Ma’s.” This vagueness characterizes many of the stories’ voices, such that they are often indistinguishable from one another. The collection sometimes feels more like a collection of modern fables than the hard-nosed, realist stories it wants to be. Still, Washington writes with an assurance that signals the arrival of an important literary voice.

A promising, and at times powerful, debut that explores the nuances of race, class, and sexuality with considerable aplomb.

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A heart-rending tale of family, love, and violence in which the “failures of the nation, the failures of myth, met the failures of men.”

Poet Wilkins’ (When We Were Birds, 2016, etc.) politically charged first novel, a “sad riddle of a story,” is set primarily in 2009, in rural, poverty-stricken Eastern Montana, with the first legal wolf hunt in decades about to begin. Wilkins crafts a subtle, tightly plotted, and slowly unfolding narrative told through three characters’ points of view: Verl Newman, in first person; and his son, Wendell, and a woman named Gillian Houlton in third person. The story begins a dozen years earlier with Verl, who’s fled to the Big Dry’s cold, deep mountains after shooting and killing a man. He carries his young son Wendell’s notebook and writes to him each night: “I imagine you are hearing all kinds of lies and should hear the truth of it from your old dad who made you.” In the novel’s present day, Wendell, a down-and-out ranch hand who loves to read, takes custody of his incarcerated cousin Lacy’s 7-yearold son, Rowdy, who’s “developmentally delayed.” He grows close to the boy and wants to be the father he never had. Hardworking Gillian is assistant principal and school counselor in the small town of Colter, outside Billings. It was her husband, Kevin, an employee of the Bureau of Land Management, whom Verl killed back in the day. She’s doing what she can to help a troubled student whose stepfather leads the right-wing Bull Mountain Resistance and raise her beloved daughter, Maddy, as a single mom. Through these characters, in a prose that can hum gently, then spark like a fire, Wilkins fashions a Western fable which spirals down to a tragic end: “They’ll wear each other down to nothing...right down to sulfur, dust, and bone.”

Following in the literary roots of Montanans Jim Harrison and Rick Bass, Wilkins packs a lot of story and stylistic wallop into this gripping, outstanding novel.

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healthy lifestyle. So Berta agrees to join her granddaughter, Jinx Maldonado, on her daily jogs through Tranquility Park. It isn’t long before they discover a lifeless body lying beneath a homemade treehouse. Berta calls the police but not before she summons her sister, Helen, and her sister-in-law, Joyce, to the scene, since she knows that investigating a murder is just what the four of them need as a supplement to their weekly canasta games.

The rural New Jersey police force must be a little shorthanded, since Chief Vinny D’Angelo doesn’t seem to mind the four amateurs poking around. They ID the corpse as local vagrant Jonas Harper, whose father had built the treehouse for him when he was a boy. But what was grown-up Jonas doing in his childhood haunt that led to his death? While the ladies discuss the case over root beer–flavored vodka, the police are arresting Jinx’s roommate, Nola Kirkpatrick, for the murder. It’s clear to the foursome that that’s a mistake, one which takes time, ingenuity, and several additional flavors of vodka to rectify.

The triumph of the four self-appointed sleuths may set a new benchmark in the cozy world, where members of the public simply take over murder investigations as the police, and perhaps readers, watch in bemusement.

THE POMERANIAN ALWAYS BARKS TWICE

Erickson, Alex Kensington (304 pp.) $7.99 paper | Mar. 26, 2019 978-1-4967-1992-8

A family dedicated to animal rescue find themselves involved in murder.

On a mission to pick up Stewie, an elderly Pomeranian whose even older owner is heading for an extended care facility, Liz Denton and her son, Ben, spot a van belonging to another rescue group run

by Courtney Shaw, who’s not above making a buck by charging high fees for pets. Stewie’s owner, Timothy Fuller, who’d called Liz to find his beloved dog a great home, orders his nurse to take him indoors, leaving Liz and Courtney to negotiate in front of Tim Jr. and his wife, who just want the dog gone. When the nurse suggests that one of them come back later for Stewie, Liz follows Courtney home, leaving Ben to make the acquaintance of Selena Shriver, the bikini-clad neighbor, until she returns. Courtney finally agrees to let Liz take Stewie, but when she returns for him and Ben, she learns that Timothy’s dead and Ben’s been arrested for his murder. Since he’d never met Timothy before, Ben seems an unlikely suspect. But the police have a witness who saw Ben enter the house, and there’s blood on his shirt, which sports his name in large letters. Ignoring her veterinarian husband, Manny, who advises her to trust in the law, Liz starts sleuthing on her own.

The rumor that Timothy had a large sum of money hidden away on his property generates more suspects who might have stabbed him for refusing to disclose his hidden stash. Liz’s daughter, Amelia, a college student, has been acting strangely recently, but her secret proves surprisingly helpful in proving Ben innocent.

Erickson (Death by Eggnog, 2017, etc.) kicks off a new series that combines irresistibly cute pets, a tangled plot, and a pretty obvious killer.

YOU FIT THE PATTERN Haseldine, Jane Kensington (352 pp.) $26.00 | Mar. 26, 2019 978-1-4967-1098-7

A fearless crime reporter works a case horrifyingly close to home.

Julia Gooden is no stranger to cases that involve her dysfunctional family.

She lost her beloved brother to kidnapping and murder and her cheating husband to a bomb (Worth Killing For, 2018). Now she’s targeted by a killer who’s warming up by dispatching other women he dresses up to look like her. Julia, who’s currently writing a book about her brother’s kidnapping, is in a stable relationship with her former boyfriend Detective Raymond Navarro and caring for her two sons. When a second woman, a runner like Julia, is found dressed like Julia and with her throat slit, Julia’s spooked but determined to find the killer. Recognizing the hand-drawn heart on this second victim’s body as a voodoo or occult symbol, Julia calls on her friend Douglas Prejean, of the New Orleans Police, who comes to Detroit to lend his expertise. As she goes through her everyday rounds, Julia searches for a connection between the dead women and herself. She’s alarmed to receive a call from the Blue Dress Killer, unhappy with this sobriquet, who asks Julia to come up with a better name. The caller knows all the details about the murders and claims to have selected several more women as targets. Redubbed the Magic Man Killer, he continues to call and leave clues for Julia while still keeping ahead of her and the police. Her success in foiling his third attempt enrages him and puts Julia in even greater danger.

An action-packed, highly believable suspenser starring a tough and determined journalist.

MURDER IN TRANQUILITY PARK

Griffo, J.D. Kensington (304 pp.) $7.99 paper | Mar. 26, 2019 978-1-4967-1396-4 The discovery of a corpse delights three budding Miss Marples and one Nancy Drew.

Much as Alberta Scaglione is enjoying her beautiful lakeside Cape Cod cottage, inherited from her generous Aunt Carmela (Murder on Memory Lake, 2018), she knows that just sitting and gazing out at the clear blue waters doesn’t promote a 36

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WITH A KISS I DIE

father, Eric Bell, who found it. Nailing the killer fast-tracked his career, and now, as Superintendent Bell, he’s in charge when another victim is found. Could there be a copycat killer, or did McGowan have an accomplice that was never found? As Isla studies brain patterns of killers looking for links, DC Mina Arian is assigned to the case. As she stubbornly investigates both past and present cases, Arian begins to see gaps, questions unanswered; but does she dare question the famous Superintendent Bell? Further complicating matters is Isla’s husband, Ramsey, who was one of the original victims and the only survivor. He is very sure Isla shouldn’t be stirring up things or talking with McGowan. The author (The Missing Hours, 2016, etc.) uses her own background as a former police psychologist to strong advantage, especially with Isla’s profiling. Occasionally, her penchant for wordy descriptions (“they couldn’t see the iron fist within the silk glove”) slows the pace, but the red herring–filled conclusion should surprise even the most careful reader.

In Kavanagh’s capable hands, the familiar plot of serialkiller-strikes-again is given a fresh and complex feel, complete with several truly sneaky twists.

Hennrikus, J. A. Midnight Ink/Llewellyn (288 pp.) $15.99 paper | Apr. 19, 2019 978-0-7387-5469-7

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Lured from the North Shore town of Cliffside to help rescue a Boston Romeo and Juliet on life support, theatrically invested ex-cop Edwina “Sully” Sullivan finds the star-crossed lovers upstaged by a pair of real-life stranglings.

The story is that the French director the Bay Repertory Theater brought in for their new production of the old chestnut has left because of a family emergency, but he’s actually been fired over notions ranging from the perverse (the sets, the props, and the costumes are all in glossy white) to the perverted (Capulet has the hots for his own daughter). Now that rehearsals have already begun, Bay Rep director Babs Allyn sends a distress signal to Cliffside artistic director Dimitri Traietti, who grabs the reins but is clearly struggling. So Babs asks whether Sully can spare Cliffside stage manager Connie Reed to lend him a hand— and whether, while she’s at it, she can drive Connie down and stand by to help out herself. Sully arrives in plenty of time to run into Kate Smythe, her ex-husband Gus Knight’s partner in law and love, and to attend a party at the University Club at which Babs memorably crosses swords with philanthropist Mimi Cunningham. The next morning, one of the two antagonists is dead, and the Boston cops, including Sully’s own ex-partner, soon begin making noises about how odd it is that Gus has disappeared. All this kerfuffle leaves Romeo and Juliet in the dust, both its romantic lovers and the vexing difficulties of the current production upstaged by Cliffside treasurer Eric Whitehall and his sister, Emma, whose family played such a leading role in Sully’s first case (A Christmas Peril, 2017), and by an undistinguished supporting cast.

Despite a surprising next-to-last-minute twist, the author doesn’t plot as if her heart were in it, and the promise of juicy backstage intrigue is never fulfilled. You’ll be happy to hear, though, that the production goes off without a hitch in the closing pages.

RESTAURANT WEEKS ARE MURDER

Klein, Libby Kensington Books (304 pp.) $7.99 paper | Feb. 26, 2019 978-1-4967-1307-0

A knockoff of a popular TV show turns deadly.

While she’s working on preparations for opening her Cape May B&B, Poppy McAllister continues to bake delicious gluten-free treats for the coffee shop owned by Gia, one of two men she cannot decide between. But she drops everything to serve as pastry chef to the other one, Chef Tim, her former fiance, at the local community college’s Restaurant Week event. Inspired by the popular show Chopped, local chefs compete for bragging rights and $10,000 by cooking a three-course meal from a basket of unusual items plus whatever they need from the pantry and fridge. Each team consists of the head chef and two helpers who work together for a week.

When a water main breaks at the B&B where the judges are booked, Poppy offers her not-yet-opened place as a substitute.

Several of the chefs are already at loggerheads. Adrian Baxter, who finished second in the class to Tim at the Culinary Institute, accuses Tim of cheating to beat him out. Tim’s assistant, Gigi, who constantly belittles Poppy because she didn’t attend culinary school, must eat her words when Poppy saves them from disaster by noticing that someone has mislabeled many of the pantry items. The judges are enduring their own dramas at the B&B. The most annoying and downright nasty is Bess Jodice, who has little good to say about her cohort. The second day begins with appliances that won’t work correctly, and another day ends when Bess, poisoned, drops dead in Poppy’s dish of cannoli. With some help from her Aunt Ginny and her

I AM WATCHING

Kavanagh, Emma Kensington (320 pp.) $26.00 | Mar. 26, 2019 978-1-4967-1374-2 Twenty years ago in rural England, teenager Isla Bell found three murdered bodies near Hadrian’s Wall. Now a professor of criminal psychology, she has a chance to study the imprisoned killer— but then the killings start again.

There was plenty of evidence to find Heath McGowan guilty of the original murders, and it was Isla’s police officer |

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MURDER BY MATCHLIGHT

zany gang of oldster friends, Poppy (Midnight Snacks Are Murder, 2018, etc.) looks into the pasts and presents of the judges and contestants to see if she can find a motive for murder.

Fans of Chopped will have fun juggling the complicated set of suspects and following a romantic triangle that has yet to be resolved.

Lorac, E.C.R. Poisoned Pen (256 pp.) $12.95 paper | Mar. 5, 2019 978-1-4642-1093-8

London, still subject to frequent blackouts in the closing months of World War II, plays host to a questionable character who dies by violence many miles from the front.

Analytical chemist Bruce Mallaig, who thinks the figure illuminated only by a flickering match on a dim footbridge in Regent’s Park is waiting for a lover, is only half right. Moments later, the man is hammered to death by the man he was awaiting, leaving Mallaig and discharged service member Stanley Claydon as most perplexed witnesses.

Chief Inspector Robert Macdonald (Bats in the Belfry, 1937, etc.) takes the two men over their statements so many times in such unsparing detail that the mystery of how the murderer could have arrived in such complete silence to bash John Ward to death is resolved with unseemly haste, leaving an altogether more teasing mystery: Who exactly was the man who called himself John Ward, and given his checkered past as Timothy O’Farrel, what skulduggery was he up to in Regent’s Park? Fastening without much logical justification on the dead man’s rum bunch of neighbors in Dulverton Place—historian James Carringford, Frivolity chorine Odette Grey, aging variety performer Rosie Willing, and conjuror Birdie Rameses, ne Richard Nightingale, and his wife and partner—Macdonald gradually reveals a surprising network of secret connections between Ward, or O’Farrel, and the living, whose variously marginal social status represented a paradise of blackmail opportunities for anyone as untroubled by moral scruples as the late lamented. Both the puzzle and the detection are starchy, clotted with talk of alibis, professional and unprofessional relationships, and other circumstantial details that are more pertinent than interesting.

Two bonuses are the unobtrusively observed wartime London background and an appendix, the deft, efficient short story “Permanent Policeman,” whose mystery is served and solved in the twinkling of an eye.

THE ALCHEMIST OF LOST SOULS

Lawrence, Mary Kensington (304 pp.) $15.95 paper | Apr. 30, 2019 978-1-4967-1531-9

New life may be growing inside her, but Tudor herbalist Bianca Goddard continues to be surrounded by corpses wherever she turns.

Not even the news that her husband, silversmith’s apprentice John Grunt, is about to be called up to military service would move newly pregnant Bianca to make peace with her father, alchemist Albern Goddard. But Albern has his own urgent reason for seeking her out. He’s concocted a potent new element, “an amalgam of earth and fire” that’s entranced everyone who sees it—and motivated someone to make off with the discovery, which Albern doesn’t know how to duplicate. As he rages and frets and beseeches his daughter, a veteran sleuth (Death at St. Vedast, 2016, etc.), to help recover the burning stones, it becomes clear that this ill wind has blown somebody good. Leadith Browne, a white witch married to rival alchemist Dikson Browne, is already doing her best to rouse the interest of the locals gathered at the Dim Dragon in bidding against each other for some burning stones that seem remarkably like the ones someone stole from Albern. The proceedings predictably end badly for everyone involved. Soon after chandler Jacoby Nimble beats out apothecary Nye Standish in Leadith’s auction, the seller is found stabbed to death in an alley outside the Dim Dragon, a spectral green glow issuing from her mouth, which has been stuffed with meadowsweet, and one of the bidders soon follows her to the grave. Nor does that end the mischief unleashed on the town by Albern’s powerfully disturbing new discovery and the Rat Man, a 200-year-old alchemist who hovers on the fringes of the action.

Lawrence reminds you to read for the period detail rather than the mystery by including a glossary, an explanatory endnote, and a thousand tiny expository glosses that serve as portals from our world to the England of 1544.

THE GOOD DETECTIVE

McMahon, John Putnam (320 pp.) $27.00 | Mar. 19, 2019 978-0-525-53553-9

Southern gothic mingles with modern noir in this well-intentioned mashup.

P.T. Marsh, a sergeant in the Mason Falls, Georgia, police department, has lost his way. After the deaths of his wife and son he has fallen into depression, drinking his way through his days, no longer Mason Falls’ best detective. Late one night he tries to help Crimson, a strip club 38

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Talking cats once again run rings around their human detective counterparts. cat chase the moon

performer, whose partner, Virgil Rowe, abuses her, but he soon finds himself in more complicated trouble. He beats and threatens Rowe, goes home, and wakes up to find Rowe has been murdered. Has Marsh killed him? He doesn’t know, but things get really sticky when Rowe becomes the most likely suspect in another murder that had taken place earlier that evening.

The victim in that earlier death was a black teenager who was tortured and lynched. Following up on the racist murder leads Marsh to a white supremacist group and then further into history, revealing a pattern of deaths that reach back to the “old” South and exposing a shadowy cabal still in operation today.

Historic documents contain the names of families still powerful in Georgia and hint at horrifying rituals. Marsh, who believes he can genuinely number himself among the unprejudiced white people—he has an African-American partner and his wife was also African-American—becomes again a “good detective” in opposing this powerful form of racism. Marsh is a likable character, but he has too much to do here: solve Rowe’s murder to exonerate himself; rehabilitate himself and his reputation on the force; and expose and then fight the cabal. And while the persistence of racism is undeniable, the shape it takes in this novel is so sensationalized it may distract from the more pedestrian and pressing forms that are always around us.

A promising start, but McMahon could do more with less.

in this venerable series (Cat Shining Bright, 2017, etc.), the wellmeaning human professionals are utterly outclassed by Joe Grey and his feline cohort, the most activist and competent among the current bevy of fictional detecting cats.

The ambitious serial-robbery scheme is mainly a pretext for an endless series of chases involving cats, people, or cats and people, climaxing in some teary-eyed reflections on the power of love involving—well, you know who.

MURDER IN AN IRISH PUB

O’Connor, Carlene Kensington Books (304 pp.) $26.00 | Feb. 26, 2019 978-1-4967-1904-1

CAT CHASE THE MOON

Murphy, Shirley Rousseau Morrow/HarperCollins (288 pp.) $24.99 | Apr. 23, 2019 978-0-06-283804-9 Talking cats once again run rings around their human detective counterparts in this latest return to Molina Point, California.

As if he’d just been waiting for his cancer-stricken mother to die, Nevin Luther has followed his brothers, Varney and DeWayne, in abandoning his father, recently widowed farmer Zebulon Luther. His son is no great loss, Zeb reflects ruefully; the heartbreak is that Nevin and his wife, Thelma, have taken their 12-year-old daughter, Mindy, who really loved the old man and wanted to stay with him. No one can feel the depth of Zeb’s loss like sleuthing tomcat Joe Grey, whose own daughter, Courtney, is kidnapped (catnapped?) from a street a few blocks away from the spot where Joe had found an unidentified woman beaten and half-buried.

After Joe, taking advantage of his speaking and dialing abilities, phones in his discovery to 911, Police Chief Max Harper and his force assume that both Maurita, the victim of the beach attack, and a suspiciously gloved library patron Joe Grey alertly spotted are connected to a daring rash of robberies whose most recent victim is restaurateur Jon Jaarel. But how long will they take to realize that Nevin Luther’s bank balance has reached over $1 million? And how can they possibly find time in the middle of such a crime wave to search for Courtney? Never fear: As usual |

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A clever Irish lass is not afraid to voice her opinion.

Siobhán O’Sullivan may be still fairly new to the Garda, but she seems to have a real aptitude for crime solving (Murder in an Irish Churchyard, 2018, etc.). In addition, she and her boss, DS Macdara Flannery, have established an unapproved romantic relationship, and she’s “mother” to her siblings, all of whom help run a bistro in Kilbane, a picture-perfect town that’s hosting both an Arts and Music Festival and an International Poker Tournament. The card players include topseeded Eamon Foley, aka the Octopus, who’s brought along his heavily pregnant wife, Rose. Foley’s closet rivals, Clementine Hart and Shane Ross, are eager to unseat him. After winning big with “the Dead Man’s Hand,” Foley is accused of cheating.

Unhappy referee Nathan Doyle announces that he’ll review the tapes and deliver his ruling the next morning. Meanwhile, the unruly and well-oiled crowd moves on to Sharkey’s Pub, where the next morning Siobhán finds the body of Foley hanging in a locked storeroom. His death looks like suicide, but Siobhán, certain it’s murder, pleads her case to Macdara. The contents of Foley’s pocket include a set of brass knuckles, two defaced playing cards, and an apparent suicide note but no keys, wallet, money, or mobile phone. Among the locals who had placed unwise wagers with Foley before he died is Henry Moore, who bet his daughter Amanda’s racehorse. Both of Foley’s rivals would be glad to see him gone, and his wife’s sorrow is limited to the prize money she’s never going to collect. Despite some reluctance from Macdara, Siobhán continues to dig, even in places he warns her to avoid, straining their relationship in her determination to leave no stone unturned.

The intricate puzzle and continuing Irish atmosphere make this the series’ best to date.

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BONES OF THE EARTH

lying dead in a bloodstained shirt. Inscore’s journals reveal that someone with the initials C.A. paid to have Seth murdered; the multiple hoof marks on his body were intended to hide a knife wound. The most likely candidates are Cantwell Ayers and Caleb Applewhite, whose descendant is running for the Senate against Halloran’s son. Soon after a tipsy Lucy tells reporters at a news conference how she found the evidence of the old murder, she’s visited by FBI Special Agent Ben Turner, who has a lot of annoying questions about her work for Halloran and her amateur investigation, as boxes of daguerreotypes have been stolen from Betty-Anne. Fortunately, Lucy’s turned over the other daguerreotypes and journals to her friend Winnie Dell, the curator for a history center at the University of Texas at Austin.

Unfortunately, Winnie is murdered and the daguerreotype of Seth stolen. Lucy’s officemates, Serena and Josephine, are constantly trying to get their gal pal back in the dating game after a bad breakup. They consider Ben a good bet even though the pair constantly wrangle over Lucy’s sleuthing. In the end, Lucy’s hot-and-cold relationship with Ben helps to turn up more clues about the old murder that’s caused her friend’s death.

A delightful debut spiced with a tempestuous romance and certain to appeal to fans of genealogical research and history.

Pattison, Eliot Minotaur (352 pp.) $27.99 | Mar. 26, 2019 978-1-250-16968-6

When he suspects murder and a coverup by the Chinese government, Inspector Shan Tao Yun must tread carefully for his own safety.

Why has officious governor Col. Tan summoned the veteran detective (Skel­ eton God, 2017, etc.) to Tibet’s Lhadrung County? Why has he forced Shan to watch in amazement as Tibetan prisoner Metok Rentzig is executed? And why has he obliged Shan to accept the newly invented position of “Special Inspector for the County Governor’s Office” and then abruptly abandoned him, leaving him the assignment of fixing this “land of...broken people”? Left on his own, Shan soon realizes that the executed man was not a criminal at all but a witness to the mysterious death of American graduate student Natalie Pike and Chinese archaeologist professor Gangfen in a car crash.

This intelligence, along with a series of suspicious industrial “accidents” at the local hydro project known as The Five Claws, prompts Shan to investigate further despite qualms about his own safety. He learns that Rentzig had followed up on the car crash, sending photographs to officials in hope of provoking an investigation. Natalie’s father claims she was apolitical, but Shan realizes that the archaeologist was involved in preventing the Chinese government from destroying a Tibetan holy site that was unfortunately in the same place as Five Claws.

The closer Shan gets to exposing the truth, the more dangerous Tibet becomes for him.

Pattison’s tenth and final Inspector Shan novel is a pitch-perfect series ending, leaving readers with a satisfying last look at the scrupulously ethical investigator as well as further insight into a recent era of Asian history little known in the West.

DROWNED UNDER

Thomas, Wendall Poisoned Pen (284 pp.) $15.95 paper | Mar. 19, 2019 978-1-4642-1062-4 A Brooklyn travel agent headed Down Under to learn what’s happened to her exhusband’s parents finds that the friend who accompanied her has been murdered at sea aboard a ship full of suspects.

Even though their divorce is comfortably remote in her rearview mirror, Cyd Redondo can’t refuse when her ex, Barry Manzoni, begs for help finding his missing parents. Sandra and Fredo left their home to go on a cruise on the Tas­ manian Dream, and now Barry’s repeated calls to their cellphones are going unanswered. Given the connections Cyd has through her agency, Redondo Travel, she’s the natural sleuth for this mission, and she calls her cruise connection and friend Harriet Archer to make arrangements for the two of them to investigate aboard the ship and maybe enjoy a few days of vacation themselves. After an adventurous air-drop onto the ship, Cyd prepares to get down to business only to find that Harriet’s been murdered in her cabin.

Now the stakes are much higher for Cyd, who can’t let her late friend down. Aided by her well-tipped cabin steward, Jeff “Koozer” Koeze, and her new friend Dr. Mathis, who’s simultaneously the ship’s doctor and a trained veterinarian, Cyd investigates Harriet’s death while the ship’s other employees try to gaslight her into thinking the murder was some sort of accident. And that’s not the only trouble Cyd takes on. She realizes that her former schoolteacher Sister Ellery Magdalene Malcomb, who’s also aboard, is about to get taken advantage of by, and even married to, one of the

MURDER ONCE REMOVED

Perkins, S.C. Minotaur (336 pp.) $26.99 | Mar. 19, 2019 978-1-250-18903-5

A Texas genealogist’s search for the truth of an old murder precipitates a present-day killing.

Austin-based Lucy Lancaster is doing research for Texas legend Gus Halloran, who’s convinced that his great-great grandfather Seth was murdered despite the 1849 newspaper stories that say he was trampled by a horse. The sole witness was photographer Jeb Inscore, and Lucy hits the jackpot when she visits his great-granddaughter Betty-Anne Inscore-Cooper, whose boxes of daguerreotypes include one that depicts Seth 40

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A fascinating and brilliantly confusing journey. the light brigade

gigolos unofficially employed by the cruise line. Add a return from former nemesis Grey Hazelnut (Lost Luggage, 2017), an endangered marsupial, and a stowaway in the ship’s morgue, and that covers maybe half the complications that await Cyd. The fingering of the fiend is forgettable, lost in the sea plots and subplots, though its drowning appears to be entirely intentional.

Winspear, Jacqueline Harper/HarperCollins (384 pp.) $27.99 | Mar. 26, 2019 978-0-06-243666-5

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Like Billy Pilgrim from Vonnegut’s Slaughterhouse-Five, Hurley’s protagonist, Dietz, becomes “unstuck in time,” bouncing from battle to battle in this brutal futuristic exploration into the meaninglessness of war and the legacies of corpo-

rate greed.

This book is full of such deliberate cultural references, beginning with the title’s allusion to the famously doomed charge during the Crimean War. Here, it’s also a nickname for the soldiers of the Corporate Corps who have a bad reaction to their deployments via teleportation, ending up not quite where—or when—they expected to go. Despite being neglected or abused by the corporations that run the devastated Earth, Dietz joined the corps (and unwittingly, the Light Brigade) in the war against Mars after that planet’s independent settlers apparently made millions of people disappear from São Paolo, all of Dietz’s family among them. When called to active duty, Dietz (gender unspecified for most of the book, but you’ll figure it out fairly soon) experiences missions out of sequence with linear time, losing and regaining comrades, ordered to perform morally dubious actions which don’t seem to lead to victory, and gradually collecting information that strongly suggests that the enemy is not whom Dietz was told it was. Does the war have an end? Is the future predetermined? Is Dietz trapped in a fixed but fractured loop of existence, or is there a means of escape? As always, Hurley (Apocalypse Nyx, 2018, etc.) is plausibly unflinching about the damage inflicted by the power hungry on those they delegate to carry out their schemes, but thankfully, she doesn’t leave her readers in utter despair, either.

A fascinating and brilliantly confusing journey that ultimately ends, as is appropriate, in illumination. Rereads will be both necessary and desirable.

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An intrepid British investigator continues her war efforts.

September 1940 finds England nightly suffering the horrors of the Blitz. The morning after volunteer ambulance drivers Maisie Dobbs and her best friend, Priscilla Partridge, spend an evening with Catherine Saxon, an American print reporter who hopes to work for Edward R. Murrow, whose radio reports have done so much to change America’s isolationist views, Maisie gets a call from Robbie MacFarlane, whose hush-hush job has required her services before. Acting on the recommendation of American agent Mark Scott, whom Maisie met while spying in Germany, Robbie asks her to investigate a murder—that of Catherine Saxon, whose throat was cut in her own lodgings sometime after her night out with Maisie and Priscilla. Maisie—a widow, nurse, spy, psychologist, and independent enquiry agent—finds Scott strangely uninterested in the case, perhaps because he has his own fish to fry. Maisie’s first look at the body reveals marks of a strangulation attempt, a tiny tattoo of the initials JT, and signs of a prior pregnancy. She interviews Cath’s best friend, Jennifer Barrington, and also the other women living in the house. Cath comes from a wealthy political family. Her father, an isolationist senator who just wanted her to make an advantageous marriage, had virtually cut her off. Jennifer acknowledges that Cath had a child who died while she was reporting in Spain. She can’t name the father, but she does know that Cath has dated an American flying with the RAF and has been visited by other unidentified men. Maisie gets some help from Scott, and their partnership tacks toward romance, but his calculated reserve prevents her from trusting him. After Priscilla is badly burned rescuing several children, Maisie has more time to devote to her investigation, whose disparate clues will lead to a shocking finale.

Winspear (To Die but Once, 2018, etc.) advances Maisie’s inspiring activities, highlights the bravery of an embattled people during the Second World War, and intimates that lessons from that period have yet to be learned.

kirkus.com

THE LIGHT BRIGADE

Hurley, Kameron Saga/Simon & Schuster (368 pp.) $26.99 | Mar. 19, 2019 978-1-4814-4796-6

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THE PRIORY OF THE ORANGE TREE

not the fire-breathing type. These dragons channel the power of water and are said to be born of stars. They forge a connection with humans by taking riders. In the South, an entirely different way of thinking exists. There, a society of female mages called the Priory worships the Mother. They don’t believe that the Berethnet line, continued by generations of queens, is the sacred key to keeping the Nameless One at bay. This means he could return—and soon.

“Do you not see? It is a cycle.” The one thing uniting all corners of the world is fear. Representatives of each belief system—Queen Sabran the Ninth of Virtudom, hopeful dragon rider Tané of the East, and Ead Duryan, mage of the Priory from the South—are linked by the common goal of keeping the Nameless One trapped at any cost. This world of female warriors and leaders feels natural, and while there is a “chosen one” aspect to the tale, it’s far from the main point. Shannon’s depth of imagination and worldbuilding are impressive, as this 800-pager is filled not only with legend, but also with satisfying twists that turn legend on its head. Shannon isn’t new to this game of complex storytelling. Her Bone Season novels (The Song Rising, 2017, etc.) navigate a multilayered society of clairvoyants. Here, Shannon chooses a more traditional view of

Shannon, Samantha Bloomsbury (848 pp.) $32.00 | Feb. 26, 2019 978-1-63557-029-8

After 1,000 years of peace, whispers that “the Nameless One will return” ignite the spark that sets the world order aflame.

No, the Nameless One is not a new nickname for Voldemort. Here, evil takes the shape of fire-breathing dragons—beasts that feed off chaos and imbalance—set on destroying humankind. The leader of these creatures, the Nameless One, has been trapped in the Abyss for ages after having been severely wounded by the sword Ascalon wielded by Galian Berethnet. These events brought about the current order: Virtudom, the kingdom set up by Berethnet, is a pious society that considers all dragons evil. In the East, dragons are worshiped as gods—but

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magic, where light fights against dark, earth against sky, and fire against water. Through these classic pairings, an entirely fresh and addicting tale is born. Shannon may favor detailed explication over keeping a steady pace, but the epic converging of plotlines at the end is enough to forgive.

A celebration of fantasy that melds modern ideology with classic tropes. More of these dragons, please.

THE OUTLAW’S MAIL ORDER BRIDE

Broday, Linda Sourcebooks Casablanca (416 pp.) $7.99 paper | Jan. 29, 2019 978-1-4926-5104-8

THE CHAOS FUNCTION

Skillingstead, Jack Houghton Mifflin Harcourt (304 pp.) $24.00 | Mar. 19, 2019 978-1-328-52615-1

The Texas Panhandle in the late 19th century is the setting for the first in Broday’s (To Catch a Texas Star, 2018, etc.) latest Western romance series, which pairs a wounded woman with an idealistic settler.

Ex-outlaw Clay Colby has worked tirelessly to make Devil’s Crossing habitable for settlers and just needs a bride to solidify his new life as a rancher. When flame-haired Tally Shannon arrives, she is just as strong and kind as her letters suggested, but she’s even more beautiful save for a diamond-shaped brand on her cheek. The victim of a jealous stepmother, Tally was committed to the Creedmore Lunatic Asylum, where she suffered unimaginable physical and mental abuse at the hands of the warden, Slade Tarver. From the first page, Broday puts readers in the middle of the action, when a rival outlaw tries to burn down Devil’s Crossing’s new buildings and a gunfight ensues. Readers may feel they have missed an earlier installment as characters and events from Clay’s past drive much of the immediate action, while the actual plot stalls for most of the book until Clay and Tally set out to avenge her abuse at the asylum. Marriage-of-convenience plots work well when the author takes the time to develop the romantic relationship that should have existed before the “I do’s,” but Clay and Tally are instantly smitten and stay that way. Tally’s inability to trust and Clay’s controlling nature could have made for fireworks, but her onestep-forward, two-steps-back attitude is merely frustrating.

Two-dimensional characters, slow plotting, and a lack of romance mark this Western “return to sender.”

A reporter is given the ability to alter time, but her attempts to save lives create increasingly dire alternate histories in Skillingstead’s (Life on the Preservation, 2013, etc.) latest offering.

Olivia Nikitas’ life is covering the news, especially war zones. Cynical and skeptical, she doesn’t expect to fall in love with aid worker Brian Anker—and she certainly doesn’t expect to gain superhuman powers. But in war-ravaged Syria, Olivia stumbles across a dying old man named Jacob and becomes the unknowing inheritor of his power as a “Shepherd”: the power to change timelines. Instinctively, Olivia uses this power to save Brian’s life, triggering a ripple effect that alters the world. Unaware of this, Olivia returns to America with Brian, but their ever-after is quickly broken...first by a weaponized smallpox outbreak and then

by Olivia’s abduction. Held captive by Jacob’s “Society,” a disbelieving Olivia first learns about the Society’s mission to avert major crisis points—and learns that by saving Brian, she has triggered one. To stop the pandemic, Olivia has to intentionally choose the original timeline: the one where Brian died. One hitch? Most of the Society wants to kill her to produce a more conventional (and male) Shepherd. With the help of Dee and Alvaro, two sympathetic Society members, Olivia escapes and reunites with Brian, but the pandemic is worsening, and Olivia tries to alter time to fix it. In her desperation to avoid losing Brian, Olivia makes things worse in successively darker timelines. Olivia struggles to save the world without sacrificing the man she loves—and learns the dark secret behind the Society’s probability machine.

The horrifying but mundane end(s) of the world are rendered with powerful bleakness—making moments of human tenderness and kindness shine all the brighter.

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nonfiction THE MOTH PRESENTS OCCASIONAL MAGIC True Stories About Defying the Impossible

These titles earned the Kirkus Star: THE LOST GUTENBERG by Margaret Leslie Davis.......................... 48

Ed. by Burns, Catherine Crown Archetype (368 pp.) $25.00 | Mar. 19, 2019 978-1-101-90442-8

SURVIVAL MATH by Mitchell S. Jackson............................................54 UNDER RED SKIES by Karoline Kan.................................................54 WAR FLOWER by Brooke King...........................................................56 FAY WRAY AND ROBERT RISKIN by Victoria Riskin..................... 64 WHEN BROOKLYN WAS QUEER by Hugh Ryan..............................65 UNTIL WE RECKON by Danielle Sered...............................................67

THE LOST GUTENBERG The Astounding Story of One Book’s FiveHundred-Year Odyssey

Davis, Margaret Leslie Tarcher/Penguin (304 pp.) $27.00 | Mar. 19, 2019 978-1-59240-867-2

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Heartfelt stories bear eloquent witness to hopes, dreams, and triumphs.

Storytelling—in theaters, on a podcast, and on a weekly public radio show—is the mission of the nonprofit organization The Moth. From the thousands of stories shared since its founding in 1997, editor Burns (The Moth Presents All These Wonders, 2017, etc.), the organization’s artistic director, offers selections from an international roster of presenters. Some storytellers may be familiar to readers: Singer-songwriter Rosanne Cash reflects on feeling anxious and disoriented after moving to New York with her children after her divorce. On a similar theme, New Yorker staff writer Adam Gopnik considers how his daughter’s imaginary friend taught him what he really wanted from living in Manhattan. Psychologist and memoirist Andrew Solomon writes about starting his own “post-nuclear family” with his husband despite “complicated and difficult and elaborate circumstances.” Emmy-winning performer Faith Salie relates her obsessive search for the perfect dress to wear to divorce court. Most voices are new, imparting intimate, moving anecdotes about life, love, friendship, parenthood, and identity. Several presenters disclose the tensions over coming out as gay, dealing with poverty and homelessness, or confronting others’ perceptions of oneself as different. Undergraduate Aleeza Kazmi, of Afghan and Pakistani heritage, proclaims that she has “worked so hard to love the skin I’m in, and nothing anyone says can take that away from me.” Activist Barbara Collins Bowie recalls growing up in Mississippi during Jim Crow, when her mother’s health crisis made her realize that the civil rights movement was “a fight for life and death.” Mary Theresa Archbold, who stealthily hid her prosthetic arm from friends and roommates, writes of the challenges of being a one-armed mother of an infant. British polar explorer Ann Daniels, mother of triplets, risked her life in defiantly trekking to the North and South Poles. Vietnamese engineer Jason Trieu tells the wrenching story of escaping from South Vietnam two weeks before the region fell to the North, one of several tales of resilience and determination in the face of terror.

Captivating, artfully wrought tales.

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Inspiring and illuminating testimony. the scar

THE UNNAMABLE PRESENT

Calasso, Roberto Trans. by Dixon, Richard Farrar, Straus and Giroux (208 pp.) $26.00 | Apr. 9, 2019 978-0-374-27947-9

BOOK REPORTS A Music Critic On His First Love, Which Was Reading Christgau, Robert Duke Univ. (416 pp.) $28.95 paper | Apr. 12, 2019 978-1-4780-0030-3

A culture critic roams far and wide.

Veteran music critic Christgau (Is It Still Good to Ya?: Fifty Years of Rock Criti­ cism, 2018, etc.) writes that he discovered his future profession when he read the journalism of Red Smith, Pauline Kael, Tom Wolfe, and Susan Sontag. This substantial |

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Italian polymath and publisher Calasso (The Art of the Publisher, 2015, etc.) continues his multivolume exploration of the origins of modernity and the modern world.

In The Ruin of Kasch (1983), the author examined the rise of nationalism and its twin, totalitarianism. In the present, comparatively slender volume, he looks at the world that has resulted, a world of unfixed meanings and constant dread.

At midpoint comes a remark on artificial intelligence in the form of a programmer’s quip about gorillas fashioning humans and then realizing they are still gorillas. How to keep the machines from taking over? Calasso answers: “Create doubt, uncertainty in robots. Make them humble. Teach them not to follow programs too literally.” So it is with humans, whose various quests for meaning have led to fundamentalism here and agnosticism there.

These days, we fight not over things that lie beyond and above society “but at society itself,” abandoning norms, substituting new ones, arguing over what is politically correct and not. Meanwhile, well, suffice it to say that Calasso rejects aspects of relativism, certainly those that defend Islamic extremism. His reasons are subtly developed and delivered episodically, more akin to Hitchens than Fallaci: “The freedom of the shari‘a,” he writes, “is not compatible with that of the Founding Fathers.” Sometimes the author’s argument can be a little scattershot and even obvious, as when he introduces tourism into the modern mix and then complains that no tourist would dream of wearing silly tourist garb at home. Mostly, though, the book is a deeply learned if allusive disquisition that brings in Walter Benjamin, Leibniz, the Bhagavad-Gita, and various TED talkers. The two-page ending, turning on a dream of Baudelaire’s, is a tour de force and among the most memorable things Calasso has written over the course of his series.

Admirers of contemporary European literature and continental philosophy will find this engaging and provocative.

collection of nearly 100 eclectic, thought-provoking, and idealaden book reviews were published in a wide range of publications, many in the Village Voice (where he was a writer and editor from 1969 to 2006) and the Barnes & Noble Review. Christgau writes that they “dive deeper” into two broad themes, bohemia and politics. His range of topics is impressive, and his references are prolific. Unsurprisingly, many of the books reviewed are music-related, but Christgau is just as adept delving into capitalism, pornography, and literature. He begins with three reviews of books by “master stylists,” aka the “Collectibles.”

John Leonard is a “small treasure,” Jonathan Lethem is a “hell of a critic,” and the “best of all,” Dave Hickey, has “been doing work that leaves your own flopping around on the deck.” One of the longest and best pieces is an outstanding overview of the “lumpily indefatigable” Raymond Williams. Christgau calls him a “socialist intellectual” with an “appetite for knowledge.”

Another highlight is “A Darker Shade of Noir,” an incisive and wide-ranging assessment of Walter Mosley’s Easy Rawlins novels. Christgau makes a good case for why these “historically evolving books constitute the finest detective oeuvre in American literature, surpassing even that of card-carrying formalist Hammett and dwarfing Chandler and Leonard and Macdonald.”

Other literary figures Christgau admires include Robert Coover, Michael Chabon (“language dazzling and deft”), and Roddy Doyle. There are also savvy assessments of autobiographies

by Rod Stewart, Bruce Springsteen, and Patti Smith, whose M Train, writes the author, “transported me.”

These sprightly, highly opinionated “adventures of an autodidact” reveal Christgau to be a highly literate, astute, and discerning book critic.

THE SCAR A Personal History of Depression and Recovery Cregan, Mary Norton (256 pp.) $26.95 | Mar. 19, 2019 978-1-324-00172-0

An insightful account of the significant physical and emotional scars caused by depression.

In 1983, Cregan (English/Barnard Coll.) gave birth to a daughter who died of a heart defect two days later. Plummeting into despair, she attempted suicide and then found herself in a locked psychiatric ward, diagnosed as suffering from a “major depressive episode, with melancholia.” In her absorbing debut memoir, the author returns to that dark time—“the worst days of my life”—both to understand what happened and to offer support to others confronting anguishing “internal forces.” Mining her medical records, her journal, family recollections, and a wide range of sources, Cregan examines her own experiences in the context of evolving psychiatric practices. Although initially doctors assumed that she was depressed in response to her child’s death, the author realized that she had endured periods of kirkus.com

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graphic adaptation Photo courtesy Leah Overstreet

Since it was founded by Harry N. Abrams in 1949, Abrams Books has consistently produced some of the best art books in the industry (their first list, in 1950, consisted of three books: Renoir, Van Gogh, and El Greco); any fan of coffee-table books knows the name. Many readers, however, may be less familiar with the imprint Abrams ComicArts (launched in 2009), which, according to their website, specializes in “graphic novels and illustrated books about the creators and the history of comics art, animation, and cartoons.”

I admit that I wasn’t aware of ComicArts until a few years ago, but since then, I’ve had the opportunity to read (and assign for review) many of the illuminating books from their list, including Duncan Tonatiuh’s Undocumented, William Stout’s Legends of the Blues, Derf Backderf ’s My Friend Dahmer, and the Audrey Niffenegger/Eddie Campbell collaboration, Bizarre Romance.

The latest is Showtime at the Apollo (Jan. 8), written by Ted Fox and illustrated by James Otis Smith. According to our starred review, this graphic adaptation of the acclaimed 1983 book “adds a new dimension to a music book that was already hailed as a classic.” It’s a vibrant visual look at one of America’s most famous entertainment venues—a theater that has fascinated me since I discovered blues and soul as a young teenager—and it serves as a fitting introduction to readers who have heard the name but don’t know the stories beyond the stage. As our reviewer notes, “Fox and Smith effectively present the progression of entertainment styles from swing and tap dance through bebop, gospel and blues, rhythm & blues, soul, and rock. They provide an entertaining, lively narrative with profiles that match the spirit, drawings that seem as musical as the music described within the text.”

In coming months, look for two more standouts from ComicArts: Brian Fies’ A Fire Story and Bill Griffith’s Nobody’s Fool. —E.L. Eric Liebetrau is the nonfiction and managing editor.

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depression from the age of 16 that were unacknowledged in her Irish culture of “self-suppression, stoicism, and silence.”

Moreover, depression had afflicted many members of her extended family, strong evidence of a genetic connection. As she discovered from research into the history of diagnosis and treatment, there has been much debate about whether the disorder arises from the mind or the body, whether it is a “maladaptive response” to life circumstances or a biological mood disorder associated with chemical imbalances.

During her monthslong hospital stay and after, Cregan was offered psychotherapy, tricyclic drugs, and electroconvulsive therapy, which she describes in chilling detail. ECT, much maligned at the time because of One Flew over the Cuckoo’s Nest and the writings of psychiatrist Thomas Szasz, for her was “a life-saving treatment.” Equally lifesaving were the support and understanding she felt from other patients and the hospital staff. By the 1990s, psychiatry’s “new and expansive definition of depression” spiked diagnoses, and drugs like Prozac publicized depression as caused by “an imbalance in brain chemistry.” Although the efficacy of such drugs is controversial, Cregan attests to their positive effects. Much, she acknowledges, is still unknown about the debilitating disorder, but she shines much-needed light.

Inspiring and illuminating testimony.

INVISIBLE WOMEN Data Bias in a World Designed for Men

Criado Perez, Caroline Abrams (272 pp.) $26.00 | Mar. 12, 2019 978-1-4197-2907-2

A writer, broadcaster, and feminist activist exposes a global knowledge gap in data pertaining to gender.

Criado Perez (Do It Like a Woman... and Change the World, 2015), who was named Liberty Human Rights Campaigner of the Year in Britain in 2013, takes on the challenge of telling the story of the unknown, addressing countless ways in which data about women have been—and continue to be—left out of research that informs everything from daily life to public policy. The author provides an incisive narrative paced more like a novel than a scientific study, offering digestible information with a sharp dose of wit. From heart attack symptoms to usage of public transportation, women’s patterns don’t always replicate men’s.

However, like algorithms seeking simplicity, researchers may set aside differences as “atypical,” thus missing the data-rich point that while women’s perspectives aren’t necessarily problematic, ignoring them is. Painting a portrait out of negative space—this is “a story about absence—and that sometimes makes it hard to write about”—Criado Perez draws attention to information gaps in fields as diverse as urban planning, tax law, design, medicine, technology, disaster relief efforts, and politics. In focusing on how research |

has ignored, obscured, or failed to address gender differences, the author offers a balance of statistics, provocative questions, and concise assessments of systemic bias and how to address it. She pinpoints how the personal and the political intersect in these data gaps, providing a lens to interrogate gender-neutral defaults and reveling in examples of how including women (sometimes a single woman) quickly “solves” persistent problems. In clear language, the author builds a strong case for greater inclusion with this thoughtful and surprisingly humorous view of institutional bias and gendered information gaps.

While some readers may suggest that equality has arrived and gender no longer matters, this book, which should have wide popular appeal, is a solid corrective to that line of thought.

to supplement their reading with a detailed map; the maps included in the volume don’t show some frequently mentioned sites, such as Dijon.

A solid chronicle for World War II reference collections. (24 pages of b/w photos; maps)

OPERATION DRAGOON The Allied Liberation of the South of France: 1944 y o u n g a d u lt

Cross, Robin Pegasus (296 pp.) $27.95 | Mar. 5, 2019 978-1-68177-860-0

A British historian’s look at one of the less-familiar actions on the European front in World War II. Cross (The Battle of the Bulge: Hitler’s Last Hope, 2014, etc.) begins in the war’s early years, when it became clear that the United States would join its European allies to roll back the German conquests. But while the broad principle was clear enough, Winston Churchill thought the attack should go through the Balkans while the Americans and the Soviets argued for southern France. In consequence, the invasion, originally scheduled for right after the Normandy landings in June, was delayed until mid-August, when British, American, and French forces came ashore near St. Tropez on the Mediterranean coast. At first, opposition was minimal; the Germans’ main forces were already committed in the north and in Russia. Eventually, American forces, trying to cut off the German line of retreat, went through tough battles near the towns of Valence and Lyon. In the end, they reached the German border, though much battered, and the Allied armies joined up for the final push into the enemy homeland. Cross enlivens the story with colorful anecdotes, such as the tale of American soldiers following what they thought was one of their own tanks on a nighttime patrol only to discover at daylight that it was a German Panzer. The author also highlights many interesting characters, notably Audie Murphy, one of the most decorated American soldiers of the war. Cross gives detailed accounts of the units engaged in each action, with plentiful quotes from the commanders on both sides. But while the details of all the units that took part in each skirmish will fascinate many military history buffs, they will put off more casual readers. Readers without an intimate knowledge of French geography may need |

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Davis does a fine job telling a fascinating story that touches on the origin of books, the passion of collectors, the unseen world of rare-book dealers, and the lives of the super-rich, past and present. the lost gutenberg

108 STITCHES Loose Threads, Ripping Yarns, and the Darndest Characters from My Time in the Game

THE LOST GUTENBERG The Astounding Story of One Book’s FiveHundred-Year Odyssey

Darling, Ron St. Martin’s (272 pp.) $29.99 | Apr. 2, 2019 978-1-250-18438-2

A former Major League Baseball pitcher offers anecdotes and surprisingly candid gossip.

Unlike most MLB players, Darling (Game 7, 1986: Failure and Triumph in the Biggest Game of My Life, 2016, etc.) not only graduated from college; he attended an Ivy League university. At Yale, he began as a position player before becoming a pitcher, and then he worked his way through the minor leagues to star for the New York Mets from 1983 to 1991 (he later played for the Expos and the Athletics, retiring in 1995). He is now a broadcaster for the Mets along with former teammate and author Keith Hernandez. The loose organizing principle of his latest book is reminiscences of the players, managers, coaches, and team owners with whom Darling interacted during his years as a player. The majority of the anecdotes are positive. However, unlike many baseball memoirists, Darling portrays some of his colleagues in negative ways based on their observed behaviors both on and off the field. Lenny Dykstra receives especially harsh treatment. Dwight Gooden, the brilliant pitcher, receives both praise and searing criticism for squandering his talent in a haze of substance abuse (ditto Darryl Strawberry). Some lower-profile players receive multiple pages of adoration, such as veteran pitcher Al Jackson, who unselfishly served as Darling’s on-field mentor. “We weren’t friends—ours was very much a mentor-mentee type of relationship. I don’t think we ever went out for a beer after a game.

But I enjoyed Al’s company immensely. He was all business, all the time, but there was a soft, sweet side to his personality.”

The anecdotes come and go so quickly that the book is probably best read a few pages at a time. In later chapters, Darling reflects on becoming a broadcaster, which gives a different perspective on the game, and offers opinions about the current game.

A sometimes-scattershot but lively account for MLB fans.

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Davis, Margaret Leslie Tarcher/Penguin (304 pp.) $27.00 | Mar. 19, 2019 978-1-59240-867-2

The surprising journey of a special book.

Davis (Mona Lisa in Camelot: How Jacqueline Kennedy and Da Vinci’s Masterpiece Charmed and Captivated a Nation, 2008, etc.) follows the remarkable tale of “Number 45,” one of the finest copies of the Gutenberg Bible in existence. The author focuses the narrative on the life of book collector Estelle Doheny, whose oil-tycoon husband was at the center of the infamous Teapot Dome scandal of the 1920s. In 1950, she purchased the Gutenberg as the crowning achievement of her life as a collector and as a devout Catholic. Doheny’s various attempts to purchase a Gutenberg, and the dealers, scholars, and members of her household who took part in the quest, make for engrossing reading. However, the story of Number 45 is far deeper and richer, beginning with the unsurpassed skill and ingenuity of Gutenberg himself.

This particular copy went on to be owned by three intriguing modern owners before Doheny. Through the stories of these three wealthy men, the author explores the significance of rare book collecting in the late 19th and early 20th centuries.

The collectors themselves all have interesting backgrounds, as well—e.g., Charles William Dyson Perrins, heir to the Lea & Perrins worcestershire sauce fortune as well as a once-famed porcelain dynasty. After Doheny’s death, Number 45 was used in scientific experiments to determine the components of Gutenberg’s inks. She had left the Bible—and the entirety of her rare-book and art collection—in the care of a Catholic seminary, but church authorities decided to sell everything in the late 1980s, and Number 45 changed hands yet again, landing at a Japanese firm for a record $5.4 million. Davis does a fine job telling a fascinating story that touches on the origin of books, the passion of collectors, the unseen world of rarebook dealers, and the lives of the super-rich, past and present.

A great read for any book lover.

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H.G. ADLER A Life in Many Worlds Filkins, Peter Oxford Univ. (416 pp.) $29.95 | Mar. 1, 2019 978-0-19-022238-3

Biography of a prolific Czech-born writer who bore eloquent witness to the Holocaust.

Translator and poet Filkins (Literature and Creative Writing/Bard Coll. at Simon’s Rock; The View We’re Granted, 2012, etc.) offers an authoritative, deeply empathetic life of H.G. Adler (19101988), a poet, fiction writer, and scholar who devoted himself to chronicling the atrocities of the Holocaust. Beginning in 1942, Adler was held for 32 months in Theresienstadt, described by Filkins as “a holding space in which to extract wealth, labor, and camouflage for the extermination camps that it fed”; he later was imprisoned in Auschwitz and two other concentration

camps. “If I survive, then I will describe it,” he vowed, both as a well-researched work of scholarship and “in poetic manner” as fiction. “To live as a participant and to live as an observer,” he wrote to his wife, who, along with her family and Adler’s parents, perished in the camps. “It’s really like they are two different people.” Adler began to record his experiences even while at Theresienstadt, collecting, as well, whatever documents he could find regarding the camp’s administration. When he realized he was being sent to Auschwitz, he left the papers with Leo Baeck, the most esteemed rabbi in Germany, who arrived at Theresienstadt in 1943 and whose prominence Adler believed might insure his survival. In addition to safeguarding the material, Baeck, who “maintained that Judaism was a religion free of dogma,” helped Adler to think through his connection to religion and identity as a Jew. Filkins describes in harrowing detail the suffering and sadism experienced by camp inmates: grueling slave labor, starvation, disease, whippings, and the ever present specter of death. After the war, Adler worked tirelessly on his writing. By 1948, he completed Theresienstadt 1941-1945, which was followed by several novels. Although he failed to find

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Another entertaining book from Garfield. in miniature

IN MINIATURE

support from major publishers, by the time he died, more than 20 books had appeared, and he had forged a career as a lecturer on Jewish culture and the Holocaust.

A well-deserved celebration of a courageous and determined public intellectual.

LIFE IS A MARATHON A Memoir of Love and Endurance Fitzgerald, Matt Da Capo Lifelong (288 pp.) $27.00 | Mar. 26, 2019 978-0-7382-8477-4

An endurance sports writer and nutritionist examines the motivations of marathon runners and how the practice can become transformative.

Fitzgerald (The Endurance Diet: Discover the 5 Core Habits of the World’s Greatest Athletes to Look, Feel, and Perform Better, 2016, etc.), who has written widely on running, diet, and exercise, recounts how, in high school, just as he was about to participate in a race, his nerves took over and he decided not to run. For years, he was haunted by this failure, but as an adult, he decided he had to race in order to confront his fears. Over the years, he entered short races, marathons, ultramarathons, and triathlons; in each race, he found himself hitting the wall, that point at which every runner must push through or quit. Sometimes he quit, but more often he finished. “Running competitively over long distances,” he writes, “is a lot like dangling by your fingertips from a cliff ’s edge with certain death below, except it’s your entire body that feels as though it’s losing its grip. No runner finds pleasure in this doomed sense of strained weakening, but some runners handle it better than others.” Although he understood his personal motivation for running, he was curious to learn why others push themselves to the edge. In a straightforward, steady narrative, he shares his interviewees’ insights alongside his own. The tempo and adrenaline amp up when Fitzgerald intertwines these stories with that of his wife, Nataki, a bipolar woman whose psychotic breaks led her to attempt to kill the author on several occasions. Despite these frightening episodes, Fitzgerald continued to hold on and get her the help she desperately needed. By sharing this personal and traumatic part of the story, the author pushes his memoir beyond just another tale of an obsessed runner.

Authentic details of a marathoner’s life coupled with the nerve-wracking, dangerous moments with his bipolar wife make for enlightening reading.

Garfield, Simon Atria (288 pp.) $25.00 | Mar. 12, 2019 978-1-5011-9958-5 Garfield (Timekeepers: How the World Became Obsessed with Time, 2018, etc.) turns his attention to models and miniatures and other small things that grab and reward our attention.

“At its simplest, the miniature shows us how to see, learn and appreciate more with less,” concludes the author, following a tour of the world of miniatures that has encompassed model railroads (Rod Stewart and Neil Young are enthusiasts), model boats (including slave ships, which somehow magnify the horror), model houses, and even miniature towns and cities. The size and scale are less important than the relationship of standing for something bigger, so the author also discusses hotels on the Las Vegas strip, including the Bellagio, the Venetian, and Paris. “The more one speaks to those who have adopted Vegas as their home,” he writes, “the more one hears talk of Europe as the phantom and Vegas as the real deal.” Garfield begins and ends with the Eiffel Tower—not because of its impressive architecture or the perspective on the city it affords but because “the opening of the tower marked the birth of the mass-consumed souvenir and the dawn of the factory-made scale model.” Consequently, others were inspired to build their own, including one constructed of 11,000 toothpicks that took approximately 300 hours to build. As much history as the author provides, he seems even more interested in human psychology: Why would someone spend so much time and effort to construct something that is ultimately without purpose, and why would others flock to see it? Garfield devotes a lot of attention to the ideal of order in a world of chaos while recognizing that the obsession can seem insane. Yet, as he writes of a man who has devoted much of his life to constructing a fleet of matchstick ships, “his dinner guests scoff that his work is pointless, but he’s happier in his world than they may ever be in theirs.”

In other words, it takes all kinds. Another entertaining book from Garfield.

BRILLIANT, BRILLIANT, BRILLIANT BRILLIANT BRILLIANT

Golby, Joel Anchor (288 pp.) $16.00 paper | Mar. 5, 2019 978-0-525-56277-1

A debut essay collection from a young, London-based staff writer for Vice.

The volume opens with a bang: “Things You Only Know When Both Your Parents Are Dead” shows a writer who can be funny and offhandedly profound at the same time, as he discovers “there 50

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is something about death that brings out the weird little crevices in all of us.” He continues, “instances of grief, I have found, are unique, two never coming in the same shape, and they can be piercing and hard-edged or they can be like passing through a deep dark treacle or they can be like a long, slow-passing cloud; it can make everything gray or everything sharp; it can hit you like a truck or it can hit you like cholesterol.” Unfortunately, putting the longest and best essay at the beginning sets expectations higher than the rest can deliver. After dealing with mortality and home and grief, Golby writes about whether he’s the type of man who should grow a mustache or wear a leather jacket, the challenges and symbolic significance of autofellatio, the mad obsession over winning at Monopoly, and the fantasy sex lives of the characters in the M&M commercials. “[I am] thirty now,” he writes, “and this is a difficult thing to be. Internally, I fundamentally still feel like I am a lost child still slightly bewildered to have pubic hair. Externally, the world expects me to work a job and pay bills and know what politics is. And somewhere in between those spaces, there is a dissonance.” In his attempts to come to terms with that dissonance, he sometimes

feels like a kindred spirit to David Sedaris, but younger and more biting. He knows what material hits the deepest (family, home, death), and he occasionally recycles insights from the stronger pieces into less substantial ones. The last essay, “Running Alongside the Wagon,” about his father’s alcoholism and perhaps his own, is almost as good as the first.

Yes, there are some flashes of brilliance; hopefully Golby will continue to grow as a writer.

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An important study for understanding the roots of current tensions. cold war in the islamic world

NOBODY’S FOOL The Life and Times of Schlitzie the Pinhead

COLD WAR IN THE ISLAMIC WORLD Saudi Arabia, Iran and the Struggle for Supremacy

Griffith, Bill Illus. by the author Abrams ComicArts (256 pp.) $24.99 | Mar. 19, 2019 978-1-4197-3501-1

Hiro, Dilip Oxford Univ. (432 pp.) $34.95 | Mar. 1, 2019 978-0-19-094465-0

A graphic narrative illuminates the transformation of the real-life Schlitzie the Pinhead into the widely syndicated Zippy.

Griffith (Invisible Ink: My Mother’s Affair with a Famous Car­ toonist, 2015) tells two stories here. The first is, as best as he could research, the life of a Bronx boy with an oddly shaped head and a childlike sunniness that would rarely diminish as he aged. When he was 8 or so, he was sold by his parents to a “traveling sideshow.” As such sideshows became exceedingly popular within the circus industry, he went by various names and personas, generally exotic, occasionally female—e.g., “Darwin’s Missing Link,” “Last of the Incas” “Tik-Tak the Aztec Girl.” He might have been lost to posterity if Hollywood hadn’t beckoned, with director Tod Browning featuring him in the sensationally received and controversial Freaks (1932). During its preview, writes the author, “a lot of people got up and ran out.

They didn’t walk out. They ran out.” It was decades before the film would be proclaimed a classic—and a fledgling art student saw a midnight screening and found his career changed: “I’d just been handed ‘subject matter,’ ” writes Griffith, who relates both Schlitzie’s story and his own in the same large-paneled caricature that would mark his development of the “Zippy” strip.

“Little did I know at the time,” he writes, “but I’d just set myself on a lifelong career drawing my version of Schlitzie.” The figure who had inspired him didn’t fare so well, as circus popularity declined and freak shows faced legal challenges for exploiting the mentally impaired. Schlitzie was committed to a mental institution after being deprived of his way of making a living, but he was subsequently released to a former circus colleague.

The internet belatedly aided Griffith’s research, and he was able to connect with those who had known Schlitzie in his prime: “He could be a delight...like a happy child,” remembered one. He died in 1971.

A tender biographical tribute to an artist’s inspiration.

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A scholarly exploration of the longrunning rivalry between the two Arab oil juggernauts and their proxy wars in Iraq,

Syria, and Yemen.

Eminent historian and prolific author Hiro (The Longest August: The Unflinching Rivalry Between India and Pakistan, 2015, etc.), who has written many books on Middle Eastern issues, focuses on a pertinent crucible of roiling tension in the region that is causing an ongoing humanitarian crisis in Yemen, one of the Arab world’s poorest countries. The historic rivalry between Iran, the Shia stronghold backing rebels loyal to Yemen’s Houthis rebels, and Saudi Arabia, bolstering Yemen’s weakened Sunni government, resulted in Saudi-led bombing of civilian targets and widespread famine. The newly open animus between Tehran and Riyadh, encompassing raw issues such as the Syrian Civil War, Iran’s nuclear program, and the penalizing of Qatar (and Turkey) for its close ties with Iran, came largely at the behest of the newly ascended Crown Prince Muhammad bin Salman. The young, impulsive, and evidently ruthless crown prince is now vilified globally (except by Donald Trump) for his alleged role in organizing and sanctioning the egregious murder of journalist Jamal Khashoggi in the Saudi consulate in Istanbul in October 2018. (Unfortunately, this game-changing event does not appear in this version of the book, though the author has written about it in other publications; hopefully, the paperback will include further information regarding Khashoggi.)

Still, Hiro clearly explains the historic rivalry between Saudi Arabia and Iran, much of which stems from each country’s respective “claims to exceptionalism”: Iran and its ancient Persian culture and language, and Saudi Arabia’s apotheosis in the 18th century with the Al Saud dynasty, stewardship of “the two most sacred sites of Islam in Mecca and Medina,” and possessor of the world’s second largest “underground sea of petroleum” (after Venezuela).

An important study for understanding the roots of current tensions.

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THE HUMAN NETWORK How Your Social Position Determines Your Power, Beliefs, and Behaviors

Jackson, Matthew O. Pantheon (352 pp.) $27.95 | Mar. 5, 2019 978-1-101-87143-0

A worthy exploration of “how networks form and why they exhibit certain key patterns” as well as “how those patterns determine our power, opinions, opportunities, behaviors, and accomplishments.”

Early on in his first book for a general audience, Jackson (Economics/Stanford Univ.; Social and Economic Networks, 2008, etc.) looks at the friend paradox: Almost everyone has friends.

Many people have the impression that others have more friends than they, and this is not neuroticism; it’s true. After all, popular people have more friends than unpopular people, so they are

overrepresented on everyone’s list of friends, and people with few friends are underrepresented. People exaggerate the number of friends who drink and take drugs because these are social (i.e., networked) activities, and they underestimate the amount of non-networked behavior—e.g., studying. Social media amplifies this: 98 percent of Twitter users have fewer followers than those they follow. As a result, popular people exert a disproportionate influence simply because they appear to dominate our network. Jackson expands this to clearly reveal unnerving network effects in areas of our lives including journalism, public health, politics, economics, and the digital world. The wisdom of crowds is genuine. Given unbiased information, their conclusions are more accurate than any individual’s. Of course, the stupidity of crowds is equally genuine. The internet has triggered a vast expansion of human networks, but because we prefer people with behaviors and beliefs similar to ours (“homophily”), the last 20 years have seen an explosion of fake news, political polarization, and ugly nationalism. However, we have seen much of this before. “Humans,” writes the author, “have been rewired many times: by the printing press, letter writing, trains,

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A dynamic, impressive debut memoir from the Whiting Award–winning author of The Residue Years (2013). survival math

CLOSE TO THE SUN The Journey of a Pioneer Heart Surgeon

the telegraph, overseas travel, the telephone, the internet, and the advent of social media. Perhaps it is our arrogance that leads us to assume that the current changes...are truly revolutionary and unique.”

A mixture of delicious truths and ingenious sociological concepts that will convince most readers that we pay too much attention to the people around us. (figures)

SURVIVAL MATH Notes on an AllAmerican Family Jackson, Mitchell S. Scribner (336 pp.) $26.00 | Mar. 5, 2019 978-1-5011-3170-7

A dynamic, impressive debut memoir from the Whiting Award–winning author of The Residue Years (2013).

Following his award-winning debut novel, Jackson (Writing/New York Univ.) looks back on the specific chaos of historical, cultural, and familial forces that, despite the continued presence of open wounds, allowed his family the opportunity to escape their home of Portland, Oregon. As he writes, “there’s the history that’s hit the books, what for all time should live in its ledgers, but...I must keep alive the record of where we lived and how we lived and what we lived and died for,” so it doesn’t slip “into the ether.” The author chronicles the complicated influences that have shaped his life, weaving through the Reaganomics era and its attendant uneven burden on black families, which led to expanding precariousness and subsequent street-scheming and entrenched pipe-dreaming. In his lyric memoir in essays, Jackson navigates family strife, crime, guns, toxic masculinity, substance abuse and addiction, and the meaning of “hustle,” among countless other timely topics. The author also makes it clear that there’s no room for pity, neither for his own choices nor those of his mother, who struggled with addiction, or the collection of black men he homages as the “composite Pops” who raised him. These are powerful stories of survival in the face of tremendous odds, rendered in a consistently intriguing hybrid of the street-cool hip-hop mathematics of Mos Def and the bluesy, ancestry-minded prison-cell work of Etheridge Knight (especially “The Idea of Ancestry”). The narrative hits its peak when Jackson motions beyond the tenuous spectacle of a moment to understand what came before it and to hope about what deliverance might come after it even while admitting, sometimes ashamedly so, that he is still wrestling with it all.

A potent book that revels in the author’s truthful experiences while maintaining the jagged-grain, keeping-ita-100, natural storytelling that made The Residue Years a modern must-read.

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Jamieson, Stuart RosettaBooks (320 pp.) $27.99 | Mar. 12, 2019 978-1-948122-32-0

Autobiography of a surgeon internationally recognized for his expertise in heart and lung transplants.

Jamieson (Cardiovascular and Thoracic Surgery/Univ. of California, San Diego), named a “Living Legend” by the World Society of Cardiovascular and Thoracic Surgery, writes with assurance and aplomb about his achievements. Even readers who have never heard of cyclosporine or been inside an operating room will relish this account, which is set in Africa, England, and the United States. In the first few chapters, the author gives us a taste of life in Rhodesia as it was for middle-class whites before the country became Zimbabwe.

Jamieson provides wonderful stories of his brushes with wild animals in the bush and rather grim ones of the cold brutality of the boys school to which he was sent when he was 8. During his adolescence, “Rhodesia was coming apart”; when the author was 19, he left for London to begin his medical training. Perhaps the most astonishing part of this section, also full of stories of colleagues and patients, is the Rothschild episode. Jamieson won a major award from the ultrawealthy banking family, and after one of his projects caught the attention of Yvonne Rothschild, she invited him to her 200-room estate, and they became friends.

The American section of the tale, which begins in 1978, features the author’s characteristic hard work, which led to great success and a meteoric career rise as well as clashing personalities, career infighting, job changes, and plenty of patients with lifethreatening problems. While telling his own story, Jamieson also interweaves a history of heart transplants. He has little love for the South African surgeon Christiaan Barnard, who gained fame for performing the first heart transplant, but he offers plenty of warm regard for Denton Cooley, Norman Shumway, and the many others who created a new field of surgery.

A well-told story by a man of great accomplishment who is clearly proud—and rightly so.

UNDER RED SKIES Three Generations of Life, Loss, and Hope in China Kan, Karoline Hachette (272 pp.) $27.00 | Mar. 12, 2019 978-0-316-41204-9

A personal examination of rural China and its one-child policy by a millennial Chinese woman who eventually earned an education and employment as a journalist. |

Authorship Question’—how he worked, what he wrote and, most controversially, whether he wrote at all.” Kells takes on the detractors with gusto, especially those promoting Shakespeare’s contemporary, the diplomat Sir Henry Neville. Along the way, the author entertains us with a fascinating publishing history of the plays and stories of famous book collectors. “To reach something like the truth,” he writes, “we must walk through noxious territory, consort with cranks and rogues.” Kells also provides a revealing assessment of the famous 1623 First Folio, the first collection of the plays. Authoritative? It’s an “unreliable source,” Kells writes.

“Posthumous, incomplete, error-ridden; produced by piratical publishers and hidden editors.” He concludes with the tantalizing Littlewood Letter, “arguably the most important Shakespeare letter in the world today—provided, of course, it is genuine.” On the whole, Kells delivers reams of arcane bibliographical information with humor and wit.

Even though the narrative bogs down in the middle under the figurative weight of bibliomania, overall, this is an enchanting work that bibliophiles will savor and Shakespeare fans adore.

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A former reporter for the New York Times Beijing Bureau, Kan was born in 1989 in the village of Chaoyang, which was rebuilt after the great Tangshan earthquake of 1976. Since she was her mother’s second child, her birth had to be hidden from the registrars; if the secret was revealed, her poor family of farmers would receive a fine that would be difficult for them to afford. In the end, her strong-willed mother was determined not to abort her. While the cost was considerable—and they had to endure friction with their in-laws and shame within their community—the family moved to a larger neighboring town where, unlike her cousins, she and her brother would have a chance to receive an education. Condemned to live in a tiny apartment crammed next to others, the author was subjected to prejudice about her accent and her looks, but she was able to validate herself through dedicated focus and fervent patriotism as a Young Pioneer. At school, she writes, “the lessons were meant to unify us, by pointing at a shared enemy for all—mainly the British, Japanese, and Americans.” As a child of conservative parents, Kan, who has no problem with candid introspection, also looked to her beloved grandmother Laolao. During her childhood, Laolao just barely escaped having her feet bound and expressed bitterness about her unjust treatment by the government, but she also automatically spouted the clichés about boys being superior to girls, to the author’s dismay. Impressively, Kan beat the odds, managing to steer clear of the ingrained courting rituals and establish herself as a professional journalist.

A remarkable multigenerational memoir that clearly explores “the real China—its beauty and ugliness, the weird and familiar, the joyful and sad, progressive and backward at the same time.”

SHAKESPEARE’S LIBRARY Unlocking the Greatest Mystery in Literature

Kells, Stuart Counterpoint (336 pp.) $26.00 | Apr. 2, 2019 978-1-64009-183-2

A Shakespeare scholar takes on the “biggest enigma in literature.”

Shortly after William Shakespeare died in 1616, friends and scholars began looking for his books, figuring that he must have had many. Shakespeare was notorious for borrowing plots and characters from histories and literary works. Where were these source books? Shakespeare’s brief will makes no mention of them. This is the premise of historian and award-winning author Kells’ (The Library: A Catalogue of Wonders, 2018, etc.) look “through the lens of the searchers themselves,” a search that “bears upon fundamental principles of art, history, meaning and truth.” It’s an engaging and provocative contribution to the unending world of Shakesperiana. On his wideranging journey, Kells discovered many intriguing clues, but the mystery of the missing library remains unsolved. The author notes that besides a missing library, there were no manuscripts, letters, or diaries. This leads to his insightful discussion of the “ ‘Shakespeare |

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An absolutely compelling war memoir marked by the author’s incredible strength of character and vulnerability. war flower

WAR FLOWER My Life after Iraq

King, Brooke Potomac Books (280 pp.) $28.95 | Mar. 1, 2019 978-1-64012-118-8 A devastating memoir of a woman’s experiences in Iraq that ultimately reflects how “there is no real end to war, only the absence of it, a lull in the fighting, a time during which another generation is born for the kill.”

At the age of 19, King (It’s My Country Too: Women’s Military Stories from the American Revolution in Afghanistan, 2017, etc.) was deployed to Iraq as a “wheel-vehicle mechanic,” which required her to recover vehicles rendered inoperable due to mechanical issues often caused by enemy fire. However, sometimes she also had to salvage the body parts of fellow soldiers who had been killed in those vehicles. “We were told every soldier gets a black bag and every piece of flesh, bone, or body part not connected to a full body was to have its own separate bag,” she writes. As a sergeant explained, “there is no certainty that the leg lying near one body is actually that body’s leg. It’s not your job to figure that shit out. It’s your job to clean it up.” Throughout her deployment she saw soldiers inured to the violence and death, and she tried to be detached and courageous even when she was thrown for a loop by mortar fire that left a fragment of shrapnel in her shin. Impressively, King coolly relates the countless horrors she witnessed. Readers who don’t know certain elements of war jargon—Strykers, nametape defilade, BOHICA, etc.—should consult a dictionary or the internet; this immediate narrative has little room for such explanations.

As if her nightmarish experiences in the war weren’t difficult enough, she relates the equally arduous challenge of returning home pregnant with twins and suffering from and denying PTSD. Throughout, King’s descriptions are graphic, clear, and frightening to read.

An absolutely compelling war memoir marked by the author’s incredible strength of character and vulnerability.

POLITICAL SURVIVORS The Resistance, the Cold War, and the Fight Against Concentration Camps After 1945 Kuby, Emma Cornell Univ. (312 pp.) $32.50 | Mar. 15, 2019 978-1-5017-3279-9

A pointed academic study of the important work of a French-led organization of political survivors of Nazi concentration camps that worked to reveal largely hidden internment camps in the Soviet Union, Spain, China, and elsewhere.

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Kuby (History/Northern Illinois Univ.) explores the pioneering work of David Rousset (1912-1997), a survivor of Buchenwald and other concentration camps who organized the International Commission against the Concentration Camp Regime (known by its French abbreviation CICRC), which “targeted not only the gulag but also political internment systems around the globe, from Francoist Spain to the People’s Republic of China to Greece, French Tunisia, and even, in 1957, wartorn French Algeria.” In his writings, Rousset used the phrase “concentrationary universe” to describe a “sphere of suffering” absolutely unknown in other parts of human history, without precedent and without parallel—“a new procedure of dehumanization.” Moreover, he asserted that the Nazi camp survivor was an “expert witness” and used the model of the Nuremburg trials in organizing the CICRC’s “mock trial” of the Soviet Union’s “crimes against humanity” at the International Military Tribunal in Brussels in May 1951. While Rousset’s work was instrumental in establishing “witnessing” as essential in conveying the “universal significance and generalizable import” of the experiences of those who suffered in internment camps, Kuby also shows how the organization enshrined the political survivor (particularly of the Resistance) at the expense of the Jewish victim, which was partly the cause of the organization’s unraveling in the late 1950s. Reviled by the darlings of the French left, such as Jean-Paul Sartre and Simone de Beauvoir, who still supported the Soviet Union and Red China during this time, the group also lost financial support, much of which had come from New Yorker John O’Shea and “friends,” who did not countenance Rousset’s targeting of French political prisons during the Algerian War. A meticulous, nuanced look inside the deeply fraught postwar political theater in France and Europe.

TYPICALLY JEWISH

Maxwell, Nancy Kalikow Jewish Publication Society (352 pp.) $22.95 paper | Mar. 1, 2019 978-0-8276-1302-7 A spirited examination of the essence of Jewishness.

Acknowledging that Jews “don’t know if we are a religion, a civilization, an ethnic group, a race, all or none of the above,” librarian and journalist Maxwell (Sacred Stacks: The Higher Purpose of Libraries and Librarianship, 2006, etc.) maintains, nevertheless, that Jews share definable traits. Drawing on abundant sources, including the Talmud, Judaic scholars and historians, rabbis, a cadre of friends that make up her own “Jewish Jury,” and assorted figures from popular culture (Woody Allen, Groucho Marx, Jack Benny, and Joan Rivers, among many more), the author brings a lively curiosity to her lighthearted investigation. Describing herself as a “spiritual-but-not-religious Jew” who married a non-Jew and has raised her daughter as a Jew, she feels an “unshakable loyalty” to her Jewish identity and sets out to discover what makes Jewishness distinctive. |

SOLITO, SOLITA Crossing Borders with Youth Refugees from Central America Ed. by Mayers, Steven & Freedman, Jonathan Haymarket (320 pp.) $19.95 paper | Apr. 2, 2019 978-1-60846-618-4

A journalist and a historian gather 15 refugee stories that underscore a brewing humanitarian crisis.

Conducted between 2014 and 2018, these extensive interviews—by Mayers (English/City Coll. of San Francisco) and Pulitzer Prize–winning journalist Freedman (The Last Brazil of Benjamin East, 2015, etc.)—offer intimate portraits of the people currently fleeing horrendous violence in Honduras, El Salvador, and Guatemala. Among other terrifying experiences, these firstperson accounts (“solito, solita” means “alone, alone”) tell of children witnessing the murders of their parents and grandparents because of their refusal to join gangs or provide the extortion money demanded by the gangs. These young people, often facing a lack of education and likely a life of crime, were sent away by relatives to often abusive coyotes at such an exorbitant cost that it has left them vulnerable and in debt for the rest of their lives. Some of the interviewees caught La Bestia, or the perilous freight trains in Mexico, where many perished along the way and others became “cyclical migrants” after repeated deportations. Even for the lucky few who made it to the United States, the immigration process was fraught and uncertain (even more so since the 2016 election). In the book’s helpful timeline, glossaries, and appendices, the editors give a sense of the historical context in Central America that has fed the current crisis since |

the 1930s: authoritarian regimes bolstered by American business and politics; gangs that formed in sanctuary cities like Los Angeles only to have their members deported to create havoc in the Northern Triangle (Guatemala, Honduras, El Salvador); and the changing, often restrictive immigration policies of the U.S. Thankfully, along with the seemingly countless heartbreaking details, the interviews tell of hopeful moments, too—of arrival to safety and the promise of work, school, and love. The editors also include a useful section entitled “Ten Things You Can Do.” A poignant, uncompromising addition to the growing literature on the plights of migrating asylum-seekers from Central America.

TRUTH IN OUR TIMES Inside the Fight for Press Freedom in the Age of Alternative Facts

McCraw, David E. All Points/St. Martin’s (304 pp.) $28.99 | Mar. 12, 2019 978-1-250-18442-9

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Worrying, she asserts, is a special Jewish trait, perhaps inspired by ancient disasters (the Ten Plagues, for example) or persecution.

Other shared behaviors include taking pride in achievements attained by Jews; an affinity for joining social and charitable groups; and particular food choices, such as cheesecake, bagels and lox, and gefilte fish. Her assertion, though, that Jews have a “unique relationship” with food might surprise “an Italian Catholic momma” whose “religion doesn’t even esteem food as much as mine.” Comedy seems to Maxwell also particularly Jewish.

“Over the past forty years,” she writes, “an estimated 80 percent of America’s leading comedians and writers have been Jews.” The search for typical traits leads, not surprisingly, to the stereotypical: Maxwell debunks the derogatory image of a “Jewish nose” but not the notion that Jews talk faster and louder than others. She asserts that verbal sparring results from Jews’ tendency “to trust that with enough talking, arguing, debating, and analyzing, the truth will emerge.” Besides examining traits, Maxwell considers her own apparently uncanny “Jewdar” that enables her to recognize other Jews. Urging Jews to talk about her book with others, she provides a 30-page appendix of hints to structure discussion.

An entertaining overview likely to inspire debate.

The deputy general counsel of the New York Times debuts with a personal and professional account of the profound changes in journalism and of the threats he perceives to the First Amendment, threats intensified by the cries of “fake news!” that emanate from the White House and echo around the country.

McCraw, who has been at the Times for more than 15 years, mixes memoir, history, and politics, stirring in a bit of self-effacement (he thought Donald Trump was incapable of winning the 2016 election) with a dash of self-congratulation: He writes extensively about a viral letter he wrote to Trump’s attorneys about a Times story giving voice to two women who had accused the candidate of sexual impropriety. The author briefly tells the story of his own background, but mostly, he maintains a sharp focus on a number of key developments and issues. He writes about the 1964 New York Times Company v. Sullivan case, which made suing the press for libel much more difficult (a 9-0 decision in favor of the Times Company); the president’s tax returns; WikiLeaks and Edward Snowden; the Harvey Weinstein case and the #MeToo movement; the Freedom of Information Act; and the kidnapping of journalists in dangerous parts of the world. Most affectingly, he discusses the wonders of the First Amendment and how we must protect it. Periodically, McCraw expresses disbelief and horror about an American president who blasts the free press and identifies journalists as the enemies of the people. He notes with alarm, as well, how the very wealthy (and very conservative) are funding anti-media lawsuits. Here, he credits comedian John Oliver (whom he calls “brilliant”) for “outing” coal magnate Bob Murray on Last Week Tonight. Throughout, the author highly praises journalists working for the Times.

Although occasionally tendentious—McCraw clearly loves his employer—this is a passionate, important defense of the First Amendment and its absolute necessity in a democracy. (first printing of 75,000) kirkus.com

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A charming and witty memoir; required reading for fashion aficionados. i.m.

FUNNY MAN Mel Brooks

McGilligan, Patrick Harper/HarperCollins (656 pp.) $40.00 | Mar. 19, 2019 978-0-06-256099-5 A biography of America’s “self-proclaimed emperor of bad taste.”

McGilligan’s (Young Orson: The Years of Luck and Genius on the Path to Citizen Kane, 2015, etc.) hefty tome about Mel Brooks (b. 1928), the director of Blazing Saddles and Young Frankenstein, isn’t exactly a hagiography. The author ably chronicles Brooks’ career arc from the Brooklyn kid born Melvin Kaminsky to the loudest member of Sid Caesar’s writing staff on NBC’s Your Show of Shows and Caesar’s Hour in the 1950s to the driving force behind some of the most successful film comedies of his time— and the crassest, with their many fart, rape, and “fag” jokes.

McGilligan also shows the ugly side of Brooks: the hard-driving businessman who berated actors when he didn’t like a performance, the disputes over writing credits that led to multiple litigations. Much of this material has been documented elsewhere—such as the story of Caesar dangling a young Brooks out a hotel window when Brooks wanted to go out for the evening (“Is that far enough?” Caesar shouted)—which makes the book overlong. In the second half, the author gets bogged down in the minutiae of Brooks’ business deals, and the prose is occasionally peculiar or old-fashioned. For example, McGilligan repeatedly refers to Brooks’ first wife, Florence Baum, only as “Mrs. Brooks”; he does the same thing a couple of times with his second wife, Anne Bancroft, a far more famous figure than Baum. These choices are emblematic of the troubling tendency to represent women in biographies only in relation to the men in their lives. Nonetheless, McGilligan does a nice job dramatizing the insecurities that drove Brooks and offers entertaining anecdotes about Gene Wilder, Madeline Kahn, and Brooks’ other collaborators, who didn’t always speak favorably of him.

In response to a negative review, Brooks wanted to tell the critic, “I meant no harm. I only wanted to entertain you.” Readers can decide for themselves whether the Brooks who emerges in these well-researched yet sometimes-tiresome pages caused more joy than harm.

I.M. A Memoir

Mizrahi, Isaac Flatiron Books (384 pp.) $28.99 | Feb. 26, 2019 978-1-250-07408-9 The dynamic life of iconic fashion designer Mizrahi (b. 1961).

Growing up in Brooklyn in a Syrian Jewish Orthodox family, where he stood out “like a chubby gay thumb,” Mizrahi

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was considered artistic from an early age. Though his father worked in the clothing industry, their relationship was one of mutual indifference. The author was more fascinated with his mother, Sarah, and they bonded over long conversations on style and culture. In his late teens, he came out to her, which strained their relationship, yet the disclosure would become just one of many defining moments in the author’s life. With an amiable, conversational flow, Mizrahi shares anecdotes ranging from childhood public shaming, which heightened his selfawareness, to breakthrough moments when his appreciation of sartorial elegance became a calling that would escort him from Parsons School of Design to stints with Perry Ellis and Calvin Klein. Nights out at Studio 54 and designing for Liza Minnelli led to more hobnobbing with celebrities. Embedded into the memoir’s chronological narrative are pages of opinion and critique on the fashion world and how Mizrahi’s career choice has influenced the rest of his life. He writes frankly about necessity, sacrifice, and the struggle between his personal life and his desire to wholly immerse himself in the fashion industry: “the harder we worked and the more devoted we were to fashion, the further we all seemed to get from our own sex lives—and the more we used fashion as a diversion from deeper, more meaningful things.” He also contributes thoughts on darker times: his father’s death, mourning the devastating number of “fashion glitterati” lost to AIDS, and his battles with chronic insomnia, anxiety, and depression. His unpredictable courtship of his husband, Arnold, reads like a Hollywood love story. The key to the warmth and overall success of the memoir is Mizrahi’s unapologetic, bare-all approach as he shares the best and worst aspects of his life, all of which helped mold him into the fashion powerhouse he has become today.

A charming and witty memoir; required reading for fashion aficionados.

MARIO PUZO An American Writer’s Quest Moore, M.J. Heliotrope Books (256 pp.) $16.50 paper | Mar. 19, 2019 978-1-942762-63-8

An exploration of the life and work of Mario Puzo (1920-1999).

In 1969, 14 years after his first novel appeared—and quietly disappeared—Puzo catapulted to fame with the publication of The Godfather. Drawing on Puzo’s autobiographical nonfiction, essays, published interviews, and memoirs by his friends and fellow writers, Moore (For Paris— With Love & Squalor, 2017) fashions an admiring portrait of the selfdescribed “working-class novelist” whose spectacular success ended years of professional disappointment. Puzo grew up poor, amid “the grimy odors, the sooty filth, and the oily stenches” of Manhattan. Summers in New Hampshire, courtesy of the Fresh Air Fund, and sports and arts programs at the Hudson Guild Settlement House nourished his spirit. Sports, cards, and voracious reading became his choice activities. His future, though, seemed bleak to |

him, and he described the period between 18 and 21 as unremittingly miserable. In 1941, he was “delighted,” he admitted, to join the Army. When the war was over, he stayed on in the military in Germany and married a German woman. Postwar Europe, Moore observes, “was rife with intrigue, dangerous in ways that an ambitious writer would appreciate for sheer narrative intensity.” That atmosphere found its way into Puzo’s first novel, The Dark Arena, garnering critical praise but “general indifference” from readers.

Moore chronicles Puzo’s money problems (with a wife and five children to support), affinity for gambling, and work frustrations.

In 1962, he resigned from a government job to become a full-time staff writer at the Magazine Management Company, where he would turn out 30,000-40,000 words per month under various pen names before going home to write his own novels. Hard as he worked, though, he was always in debt—until he took an editor’s advice to write about “that Mafia stuff” that had appeared in some of his stories. It was advice well-taken: Readers made The Godfather a bestseller for 67 weeks, and it has lived on as a movie and sequels.

Puzo’s fans will appreciate this warm portrait.

Morris, Adam Liveright/Norton (400 pp.) $28.95 | Mar. 26, 2019 978-1-63149-213-6

A detailed account of messianic movements in America.

On Nov. 18, 1978, more than 900 people died at Jonestown, Guyana, a remote settlement of the Peoples Temple cult led by self-styled messiah Jim Jones. This mass murder-suicide, the largest single loss of American civilian life in a deliberate act until 9/11, serves as a gruesome denouement in this new study, in which independent scholar Morris analyzes a largely forgotten chapter in American history. From Jones to Mother Ann Lee to “Walla Walla Jesus,” charismatic would-be prophets have established quasi-communist settlements as correctives to the racism, misogyny, rampant individualism, and capitalist greed they believed have characterized American society. To further foster this defiance of mainstream America, most of the communities also shared an aversion to the nuclear family, with celibacy frequently promoted “as a rejection of marriage, childbearing, and traditional kinship structures.” Morris is at his best when he discusses the man who arguably embodied these tenets more than anyone else: Father Divine (c. 1876-1965), a black spiritual leader and civil rights advocate. Father Divine was an important and influential figure in his day, yet his controversial views on family—followers were expected to change their names and leave behind wives, husbands, and children once they joined his movement—ensured his virtual erasure from the nation’s collective memory. Unfortunately, the rest of the chapters are somewhat dry, scholarly, and jargon-laden. Moreover, the brevity of many of the chapters impedes the narrative flow, and |

WHITE SHOE How a New Breed of Wall Street Lawyers Changed Big Business and the American Century

Oller, John Dutton (448 pp.) $30.00 | Mar. 19, 2019 978-1-5247-4325-3

A lucid account of the rise of the modern law firm and the concomitant rise of the modern corporation.

Massive law firms abound in the world’s financial capitals, organized according to principles set forth by a young lawyer named Paul Cravath in the last years of the Gilded Age. Lawyers today know his last name in connection with organizational methods that are still in place—what Oller (The Swamp Fox: How Francis Marion Saved the American Revolution, 2016, etc.), who spent three decades as a Wall Street lawyer, calls “the creation of a new organizational society.” However, as the author shows, Cravath had more in mind than just regularizing office procedures. He and other “white shoe” lawyers of his time, such as William Cromwell and Elihu Root, carved legal paths that led to the current notion that a corporation has legal personhood, organizing a body of laws that helped corporations avoid regulations while enjoying as much economic freedom and wealth as possible. As Oller notes, these lawyers tended to be conservative, even reactionary; a notable example was John Foster Dulles, an entrenched foe of the New Deal, “which Dulles viewed as a threat to free enterprise.” At the same time, however, the white shoe lawyers helped develop legal limits that kept the corporations from pushing too hard, with Cravath developing methods for raising capital that curbed the practice of “watering stocks” and proposing “greater restrictions on the issue of new securities than in the past.” The corporations were not always grateful, and though the rise of the modern company tracks closely with the parallel rise of the big modern law firm, not all the Wall Street players followed suit in Cravath’s devotion to institution-building. Most, however, opted for the bigfirm, multipartner, all-for-one model, and even if Cravath would later call big business “the most serious menace of our age in its social consequences upon American life,” his model prevails.

Students of economic and legal history will find Oller’s book insightful and revealing.

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AMERICAN MESSIAHS False Prophets of a Damned Nation

the brief epilogue would benefit from more information on post-Jonestown cults (David Koresh and the Branch Davidians receive only one paragraph). Ultimately, the book should serve as a useful reference for students of messianic movements and the history of American religion in general, but nonscholarly readers may lose interest at some point in the narrative.

An informative and occasionally enlightening survey of American messianic movements, but it will likely have limited appeal among general readers. (8-pages of b/w photos)

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INTERVIEWS & PROFILES

Bridgett M. Davis

A DAUGHTER’S LOVE FOR HER DAZZLING MOTHER IS AT THE HEART OF THE WORLD ACCORDING TO FANNIE DAVIS

By Joshunda Sanders Photo courtesy Nina Subin

One universal marker of class in America is a great pair of shoes, so it’s fitting that The World According to Fannie Davis: My Mother’s Life in the Detroit Numbers begins almost immediately with author Bridgett M. Davis making a connection between her self-made, entrepreneurial mother and the scornful gaze of white America.

Her first lesson comes as a first-grader at Winterhalter Elementary & Junior High School, when her teacher Miss Miller noted her shoes always matched her outfits—and one pair of baby blue, patent leather slip-ons with an extravagant buckle prompted her to ask what exactly her parents did for a living and just how many pairs of shoes the girl had in all.

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Davis knew better than to tell the teacher that her mother was part of what she would learn later was, once upon a time, an extremely lucrative American tradition: running Numbers.

When Davis went home to her mother and told her about her teacher making her count the number of shoes she had in her possession, Fannie pulled on a periwinkle blue leather coat, took her baby girl with her in a ride in her new Pontiac Riviera to Saks Fifth Avenue, pulled out a $100 bill and bought her a 12th pair of yellow patent leather shoes. “You’re going to wear these to school tomorrow,” Fannie tells her daughter when they get home. “And you better tell that damn teacher of yours that you actually have a dozen pairs of shoes, you hear me?”

The point of this glorious, elaborate, and cinematic detail is that it says so much about Fannie, healthy black motherhood, and the American experience—that when you have given everything you have and risked everything you have to live well and to make sure that your children live well and inherit that legacy, you will be damned if anyone makes them ashamed. You dare them or anyone else to think twice about standing firm in the conviction of such a powerful love. “This is unconditional love writ large,” Bridgett says of the book. “This is how you love in a healthy way.”

The Numbers, the illegal, all-black precursor of state lottery games, are part of a long American gambling tradition that Davis reports about deeply and expertly in The World According to Fannie Davis. In the 1930s, for example, white gangsters like Dutch Schultz kept close watch on the operations and reported that they made as much as $80 million a year. Thirteen colonies operated legal lottery businesses that led to the creation of the stock market. In fact, Denmark Vesey, a former Charleston slave who would go on to help found the African Methodist Church in South Caro|

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What really motivated [Fannie] was that she really just wanted her children to thrive. That’s what keeps your children safe, that’s what makes you make the right choice in a life partner, when you can love your children in a healthy way.”

The only thing unfortunate about Fannie is that we have seen her kind so rarely in American letters, as though she were a novelty. But women like her— as much Booker T. Washington as she is Madame C.J. Walker, with a hint of blaxploitation-era Pam Grier— are more common than the widely circulated tales of fraught black maternal love lead us to believe. Fannie orients and centers a world where she risks everything to provide and demonstrate unconditional love for her family. Bridgett returns that love right back to her mother, unfettered from any hesitation or sense of lack. From the first word to the last, there is nothing in the book but adoration, reverence, and affection.

“When it came time to write about my mom, I was absolutely clear that there’s something about black mothers that’s just not part of the narrative,” Bridgett says. “She enjoyed being a mother. She did everything to give us lives, but she also didn’t believe she should be a martyr and go without. She would say, ‘If I don’t have shoes, that’s a problem for you.’ And while we have shoes, why not have good shoes while we’re at it.’ ”

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lina where nine African-Americans were shot in 2015, bought his freedom with money he won during a city lottery in 1799.

“I knew that my mom was engaged in a process that has happened in a lot of cities in the U.S. and in the history of the world,” Bridgett says. “I didn’t understand the social legacy before. Through writing the book, I was able to connect black folk to an American institution, and what the U.S. has done with the lottery since is completely an American narrative.”

Bridgett, a novelist, screenwriter, and journalism professor at Baruch College, weaves two other disparate yet fundamentally American stories together through her portrait of her mother. One is a beautifully complex rendering of black motherhood that offers up humanity without stereotype—unfortunately rare in literature about black women. There’s a simple but very profound, uncomplicated love between mother and daughter in this book. Another is what Bridgett calls the blue-collar bourgeoisie, a full, vibrant space of ingenuity and enterprise that allows for a multifaceted black humanity to unfold in refreshing and colorful ways.

Fannie, a generous, lavish matriarch, sparkles like the 1.5 carat diamond solitaire ring she liked to wear, in part because, Bridgett says, “It was just a pleasure to be her daughter. She fascinated me and I adored her and I also knew that she saw me.”

It was important for Bridgett to recover and tell the details of her mother’s hustle because so often the black working-class experience is obscured or omitted from the historical record. Take, for example, the omission of the black working class from the many articles about working-class voters during and after Trump’s campaign for the presidency. “Nothing reminds white America of its racist and privileged stance more than a black working-class man or woman, because it can’t explain away why they aren’t being honored, getting fair treatment,” Davis says. “There’s only one explanation, which is that we live in an unfair society, so they remain invisible.”

As someone who inherited her mother’s entrepreneurial drive and her self-made spirit of upward mobility undergirded by a family that was very much intact and healthy, Bridgett says that the story of her mother is also the story of so many other people’s mothers. “We all knew and know someone in the culture who has these incredible mothers. We forget how loving black mothers can be, in a healthy way,” Davis says. “Motherhood is not about sacrifice nor is it necessary to give up yourself to be a good mother.

Joshunda Sanders is a writer and educator living in New York. The World According to Fannie Davis received a starred review in the Nov. 1, 2018, issue.

THE WORLD ACCORDING TO FANNIE DAVIS My Mother’s Life in the Detroit Numbers Davis, Bridgett M. Little, Brown (304 pp.) $28.00 | Jan. 29, 2019 978-0-316-55873-0

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Meticulous research results in a significant biography of a trailblazer who now has a CIA building named after her. a woman of no importance

THIS MUCH COUNTRY

Pace, Kristin Knight Grand Central Publishing (336 pp.) $27.00 | Mar. 5, 2019 978-1-5387-6240-0 A vibrant memoir of sled dog racing in the wilds of Alaska.

As a teenager, Pace spent every summer at an outdoor adventure camp in Colorado, living in a covered wagon and learning wilderness survival skills. Returning to the camp as a counselor deepened her love of adventure.

Danger, she reveals in her assured and absorbing literary debut, gave her a “jolt of adrenaline” that became an addiction. “Or rather,” she writes, “a purifying ritual.” Six days after graduating from high school, Pace left her home and family in Texas to travel to Montana to live in a one-room log cabin with a man she met online. Although her parents had misgivings, they encouraged her independence and cheered when she enrolled in the University of Montana. After she graduated, she took a summer internship at the Denali National Park Sled Dog Kennels, where she developed “an insatiable love for dogs” and a clear sense of Alaska’s brutal backcountry. The following spring, she accompanied a musher on an “absolutely hellish” 20-mile patrol across slick ice and deep snow. “It was the hardest thing I had ever done,” she recalls, but she was “more scared of living a boring life” than confronting peril. When her marriage ended, Pace, divorced and bereft, became a caretaker for sled dogs, living alone in a small cabin in the wilderness. With temperatures that could plummet to 60 degrees below zero, the author faced the challenges of keeping herself and her dogs alive: not least, chopping firewood and hauling water (the cabin had no running water and no indoor plumbing). Sled dogs, whom she lovingly portrays as having distinct and quirky personalities, were seductive, and racing beckoned irresistibly: Much of the memoir recounts Pace’s training for and racing in the Yukon Quest and the Iditarod, both exhausting, exhilarating, and, as Pace depicts them, glorious feats. Soon, the author and her new love set up their own kennel, devoted to their valiant dogs—and to each other.

A buoyant evocation of a thrilling, hardscrabble life.

CHAUCER’S PEOPLE Everyday Lives in Medieval England

Picard, Liza Norton (368 pp.) $27.95 | Mar. 26, 2019 978-1-324-00229-1

What was it like to live in 14th-century England?

Historian Picard (Victorian London, 2005, etc.) continues her series of books that provide insightful, detailed, and entertaining examinations of life in England, and London in particular. Her latest goes 62

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back to the 1300s, when the country experienced turbulent times: war, a pandemic, rebellion, and regime change. As her jumping-off point, Picard uses Geoffrey Chaucer’s (1340-1400) “motley bunch” of pilgrims from his Canterbury Tales. During the two days of their journey (they never arrive), they share stories and experiences. Picard’s critical and close reading of the Tales and extensive historical research provide her with a wealth of information about the personalities of each pilgrim and their everyday lives. She divides them into four groups: country, city, religious life, and the armed services. First up is the “eye-catching” Wife of Bath. Picard delves into her marriages (five), her other pilgrimages—did she “benefit spiritually” from them? “Chaucer leaves us in doubt”—and her appearance, which then leads to a discussion of the wool trade. This is how the book is organized, with one topic cascading into another.

Another example is the author’s description of the Sergeant of the Law’s appearance, followed by a discussion of the courts at this time: how they functioned, civil and criminal cases, land law, the Magna Carta, and so on. Most of the material is lively and highly instructive, though not many readers will be rushing to reproduce the many recipes included in the “Cook” section.

Picard claims that Chaucer’s portrait of the monk is the “most vivid of any of the pilgrims,” and she suggests that the Knight’s young, “fashionable” squire is a portrait of Chaucer’s own son.

“It’s pleasant,” she writes, “to think of a loving fatherly eye contemplating Thomas.” The author also gleefully notes those pilgrims who suffer the caustic “Chaucerian sting.”

An ideal companion volume for readers of the Tales and a useful stand-alone history of the period. (maps)

A WOMAN OF NO IMPORTANCE The Untold Story of the American Spy Who Helped Win World War II

Purnell, Sonia Viking (352 pp.) $28.00 | Apr. 9, 2019 978-0-7352-2529-9

A remarkable chronicle of a courageous woman who worked undercover for British and American intelligence in occupied France during World War II and had to fight for every ounce of recognition she deserved.

Throughout this lively examination of the life of Virginia Hall (1906-1982), British biographer and journalist Purnell (Cle­ mentine: The Life of Mrs. Winston Churchill, 2015, etc.) shows how, if Hall had been a man, dropping undercover in and out of occupied Vichy, Paris, and Lyon, setting up safe houses, and coordinating couriers for the Resistance, she would now be as famous as James Bond. However, this daughter of a well-off Baltimore family, who attended Radcliffe and Barnard before finishing her education in Europe, dreamed of a career in the American Foreign Service—but over and over she was relegated to the secretary’s desk. In 1933, a freak hunting accident in Turkey left her with an |

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amputated left leg, a horrendous experience that only seemed to steel her resolve to live her life as she pleased. The outbreak of Nazi aggression in 1939 and subsequent invasion of France prompted Hall to volunteer to drive ambulances for the Service de Santé des Armées. Then, a fortuitous meeting with an agent of the Special Operations Executive, the fledgling British secret service, sealed her fate. Impressed by her courage, independence, and poise, the SOE tasked Hall with returning to occupied France to help coordinate the work of local Resistance leaders and future SOE agents. Her appointment, writes the author of her consistently fascinating subject, “was an outstanding act of faith in her abilities, which had for so long been belittled or ignored.” Hall’s daring efforts in the breakout of Resistance prisoners in the Vichy-run internment camp at Mauzac, in March 1942, was a stunning achievement considering the enormous danger of getting caught and tortured by the Gestapo. Later in the narrative, the author amply shows how her later CIA work was only grudgingly recognized and celebrated.

Meticulous research results in a significant biography of a trailblazer who now has a CIA building named after her.

LET’S PLAY TWO The Legend of Mr. Cub, the Life of Ernie Banks Rapoport, Ron Hachette (464 pp.) $28.00 | Mar. 26, 2019 978-0-316-31863-1

A new biography of Major League Baseball Hall of Famer Ernie Banks (1931-2015).

Sports journalist Rapoport (The Immortal Bobby: Bobby Jones and the Golden Age of Golf, 2005, etc.), who wrote for the Chicago Sun-Times for more than two decades, began his project as a collaborator with the baseball legend; however, after Banks died, the author decided to transform the intended autobiography into a biography. Banks is best known for his sterling play as a powerhitting shortstop, his nearly 20-year career with the hapless Chicago Cubs, and his eternally cheery outlook on baseball and life.

Rapoport does not debunk the essential truths of those surface qualities, but he offers copious evidence that Banks was more complicated than most baseball fans know. Banks grew up as one of 12 children in Dallas, in a time of cruel racial segregation. Until he entered the Army in 1951 (he served in Germany during the Korean War) and then broke the color barrier on the Cubs two years later, he had no meaningful contact with open racism, leaving him deeply naïve about what he would face throughout his life. Intellectually curious and self-effacing, Banks may have lost his naiveté about racism, but he chose to avoid the crusader label.

As a result, he faced a lifetime of puzzlement and occasional criticism for his refusal to speak out against segregation, especially from Chicagoans appalled by the virulent racism infecting the city. In his family life, Banks’ sunny disposition hid his eventual alienation from his parents, siblings, wives, and children. Despite 64

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the author’s periodic coverage of social issues, he devotes the bulk of the biography to baseball on the field and in the clubhouse.

Dedicated baseball fans will appreciate Rapoport’s coverage of dozens of Cubs players, field managers, and executives, including the complicated Wrigley family owners. One of the book’s shortcomings is the author’s attempts to cram in too much information about seven decades of baseball, but that’s a minor quibble.

A refreshing sports biography that punctures common myths about one of baseball’s greats.

FAY WRAY AND ROBERT RISKIN A Hollywood Memoir Riskin, Victoria Pantheon (416 pp.) $30.00 | Feb. 26, 2019 978-1-5247-4728-2

An affectionate portrait of two early Hollywood film legends.

In this captivating dual biography and memoir, Riskin—a former president of the Writers Guild of America West and former director of Human Rights Watch—recounts the colorful lives, hardworking careers, and loving but sadly foreshortened marriage of her parents, actress Fay Wray (1907-2004) and screenwriter/playwright Robert Riskin (1897-1955). Wray is best remembered for her iconic role in the 1933 classic King Kong. Though many of her other films are less memorable, during the 1930s she was one of the most prolific actresses of her day. Riskin made an indelible mark as a screenwriter for several significant films of that same period, most in collaboration with director Frank Capra, including It Happened One Night, for which Riskin won an Academy Award for best adapted screenplay. Wray and Riskin both came from humble origins. One of six children, she “came from pioneer stock” in Utah; he was one of five children brought up in Manhattan’s Lower East Side. Both were well-established in their careers before meeting in 1940: Wray was at Paramount, Riskin at Columbia Pictures. Wray had been married previously and had a young daughter. Riskin, in his early 40s, had avoided marriage but had serious involvements with severable notable women, including Carole Lombard. Their eventual marriage would enrich both their lives but was short-lived. Riskin suffered a stroke in 1950 that left him unable to write for the remainder of his life. In alternating chapters, the author traces their careers and shares lively stories of their personal journeys.

The narrative is enhanced by richly detailed descriptions of that period, as the author offers fresh insights into the studio system and many of the key players. Much has been previously written about Capra as well as studio moguls such as Harry Cohn; Riskin provides further nuance and context for how these and other industry talents operated.

In this engrossing tribute to her parents, the author provides a thoughtfully documented portrait of early Hollywood. A must-read for fans of this era of film history.

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A romantic, exquisite history of gay culture. when brooklyn was queer

HOLLYWOOD GODFATHER My Life in the Movies and the Mob

WHEN BROOKLYN WAS QUEER A History

Russo, Gianni with Picciarelli, Patrick St. Martin’s (320 pp.) $29.99 | Mar. 12, 2019 978-1-250-18139-8

Ryan, Hugh St. Martin’s (320 pp.) $29.99 | Mar. 5, 2019 978-1-250-16991-4

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A century and a half of Brooklyn’s queer history.

A longtime Brooklyn resident and founder of the Pop-Up Museum of Queer History, Ryan pinpoints the establishment of a homosexual presence there in the mid-1800s with the publication of Walt Whitman’s Leaves of Grass and the development of the area as a major port. Around the turn of the century the proliferation of print media and theatrical performances ushered in a new wave of alternative entertainment and modernized ideas of sexuality. The author pays homage to this era by spotlighting such entertainers as black singer and drag king Florence Hines and “gender-deviant” male impersonator Ella Wesner, who “was praised for offering top-to-toe looks that didn’t simply use tailored, masculine-esque clothing to show off her female form.”

Yet as this visibility increased, so did factions of detractors who called homosexuality immoral and criminal. However, as Brooklyn’s population bloomed, so did its ever evolving queer presence, especially in the 1920s, even while police continued to arrest people for cross-dressing. Employing a dynamic combination of meticulous research and impassioned prose, Ryan familiarizes readers with the precarious post–Prohibition-era atmosphere before moving on to World War II, when control and arrests of queer Americans precipitated a great vanishing of the culture in Brooklyn and beyond. The author insists on its overdue appreciation, and he offers a richly evocative chronicle filled with notable queer game-changers. “If this history shows one thing,” he writes, “it is the resourcefulness of queer desire, which found ways to express itself long before America even had words for it. With the dawn of the new millennium, queer Brooklyn has rebounded with a fierceness and a cultural relevance that threatens at times to outshine Manhattan.” With a sharp eye for detail and a knack for vivid re-creations, Ryan eloquently contributes to an “old queer history” he believes has become needlessly “piecemeal and canonless.”

A romantic, exquisite history of gay culture. (8-page color photo insert; b/w photos throughout)

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Recounting a life that reads like a narrative for a mob-movie script, a mobster, actor, and Las Vegas presence delivers numerous eye-opening revelations about national and world events.

Among the many revelations: The mob likely arranged the assassination of John F. Kennedy, Richard Nixon was mobbed up, and the Vatican has been involved in mob money laundering. Writing with Picciarelli (co-author: Street War­ rior, 2017, etc.), Russo weaves all of this among stories about his life, a life that featured an almost Dickensian boyhood: He spent some years in isolation due to polio; someone got killed, too—and not by the disease. Later, Russo became a permanent school truant and, as a teenager, was regularly sleeping with Marilyn Monroe. Eventually, he began to hang out with A-list celebrities, including Brando, Sinatra, and Elvis. He married early and regretted it, then went on to countless relationships with other women before marrying again—more happily, he assures us. But what appears to be his greatest experience was his role as Carlo Rizzi in The God­ father. He devotes some chapters to the film and refers to it continually. That role even saved his life, it seems, when Pablo Escobar, who was having him beaten to death for an infraction, confessed that the film was his favorite and canceled the contract. The author also recounts his numerous roles for the mob. He began as a delivery boy (a role that, in ways, he continued throughout his adult years) before moving on to become an agent in money laundering and a fixture in the Vegas nightlife. Later, distancing himself somewhat from the mob, he played more roles in films and TV and did some writing and producing. He writes that he hopes his life will inspire younger people.

Russo is an engaging raconteur, no doubt about it, but skeptics may raise eyebrows—carefully so. (8-page b/w photo insert)

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stephanie land’s maid shatters stereotypes of people in poverty

Photo courtesy Nicol Biesek

Publishing is impoverished when it comes to firsthand accounts of the working poor, notes Stephanie Land, author of Maid: Hard Work, Low Pay, and a Mother’s Will to Survive (Jan. 22).

“There are no first-person narratives of people who are struggling,” says Land, a Barbara Ehrenreich mentee through the Economic Hardship Reporting Project and a Center for Community Change writing fellow, “and that’s exactly what we need.”

The personal essay is “most vital right now,” she adds. “If you have dis- Stephanie Land tance in the writer, there’s distance for the reader. The only way we’re going to build compassion for people under this huge umbrella of government assistance is by [listening] to their stories.”

“An important memoir that should be required reading for anyone who has never struggled with poverty,” Kirkus writes, Maid poignantly renders Land’s experience as a single mother living below the poverty line in Washington state.

“We lived, we survived, in careful imbalance,” she writes of early life with daughter Mia. “This was my unwitnessed existence, as I polished another’s to make theirs appear perfect.”

To make whole the insufficient funds provided by public assistance, Land took low-paying, physically demanding jobs with various housecleaning services. Her wealthy clients never knew she repaired at night to a small studio apartment whose mold kept Mia constantly congested. Nor that one unforeseen expense could send mother and daughter tumbling. “[This book is about] breaking out of the caricature of poverty, breaking out of the stereotypes we’ve created for people in poverty,” Land says. “Even ‘poverty’ is a loaded word that comes with a lot of images in our head, when in truth...this could happen to anybody. I hope that makes readers feel a little more vulnerable and possibly empathetic.” —M.L.

EVERYTHING IN ITS PLACE First Loves and Last Tales

Sacks, Oliver Knopf (288 pp.) $26.95 | Apr. 23, 2019 978-0-451-49289-0

The acclaimed neurologist and author’s spaciousness of mind, humanity, and attachment to all life has its last showcase in this posthumously published collection.

Assembled here are a wealth of previously published and unreleased pieces by the gifted neurologist (1933-2015), justly called the “poet laureate of science.” As in most of his books, Sacks (The River of Consciousness, 2017, etc.) includes clinical case studies from his medical practice. There is an unusually intriguing discussion of the many sides of Tourette’s syndrome as well as a detailed analysis of the misleadingly named “bipolar” disorder. While underscoring the physician’s role in some of the most intimate decisions of a patient’s life, the author discusses the aging brain; mania as a biological rather than psychological condition; the various manifestations of dementia; and the folly of a “premature sense of impotence and doom” that can accompany a diagnosis of Alzheimer’s. In a lighter vein, Sacks discusses his early fascination with fossil botany and chemistry. He also offers odes to libraries, swimming, museums, the necessity of gardens, and the majesty of the ginkgo. His disquisitions extend further to the ancient building blocks of cyanobacteria and the evolution of earthlike planets, the premonitory power of dreams, photography’s transformation of the way we perceive movement and the world, and the hallucinatory nature of out-of-body and near-death experiences, states that are far from supernatural in origin but rather “part of the normal range of human consciousness and experience.” Among the many scientists and writers whose oft-forgotten work he praises (sometimes to excess), his essay on pioneering British chemist and poet Humphry Davy is particularly edifying. In the last days of his life, Sacks offered strong lamentations about the book as an endangered species and the loss of civility in an age of cellphones and social media.

Balanced and insightful, this valedictory collection offers a fine coda to a remarkable life and career.

Megan Labrise is a staff writer and co-host of the Fully Booked podcast. Maid received a starred review in the Nov. 1, 2018, issue.

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A top-notch entry into the burgeoning incarceration debate. until we reckon

WOMEN WHO DARED To Break All the Rules

Scott, Jeremy Oneworld Publications (272 pp.) $19.99 paper | Mar. 12, 2019 978-1-78607-193-4

UNTIL WE RECKON Violence, Mass Incarceration, and a Road to Repair

Sered, Danielle New Press (336 pp.) $28.99 | Mar. 5, 2019 978-1-62097-479-7

In her first book, the founder of Brooklyn-based Common Justice convincingly attacks the conventional wisdom about violent crimes, appropriate punishment, and how to repair the criminal (in)justice system. |

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A gossipy history zooms in on six women who broke society’s rules for their own ends.

The choice of subjects by Scott (Coke: The Biography, 2013, etc.) is eclectic at best and puzzling at worst. Disregarding chronology, he bounces freely through history, awarding some of his subjects a couple of chapters and others a single one, seemingly arbitrarily. The volume opens with Victoria Woodhull, a spiritualist and advocate of free love who announced her run for the presidency of the United States in the 19th century, long before women got the vote. The author then jumps back to the 18th century for a couple dozen pages on Mary Wollstonecraft, best known as the author of A Vindication of the Rights of Women. In a chapter entitled “Holy-Rolling in Carmel Love Nest,” Scott moves on to the early-20th-century life of controversial and wildly popular preacher Aimee Semple McPherson.

Coco Chanel and Edwina Mountbatten, wife to the last viceroy of India, also come in for scrutiny. Most perplexing is Scott’s inclusion of Margaret Argyll, whose sole claim to fame seems to be that she was at the center of a divorce that kept the British tabloids busy in the 1960s. The author’s technique is to compile the work of earlier biographers into a brisk, conversational survey of each subject’s life, with occasional asides on such topics as nymphomania and the women of the French Revolution. He writes with verve; if he doesn’t have much new to say, he says it with style, and his fascination with his subjects is infectious.

Scott offers neither an introduction nor a conclusion to the volume, so readers are left to draw their own conclusions about what connections he sees between these disparate lives and why he has chosen these six rather than some other set of women.

A scattered, unpretentious introduction to figures readers may be tempted to investigate further. (27 b/w illustrations)

Sered’s organization brings together crime victims and perpetrators to experience a process known as restorative justice. Common Justice always begins with the crime victims, who are rarely heeded and often downright ignored by police, prosecutors, and judges. The author and her small staff listen carefully to victims of all kinds of violence. In most jurisdictions, a large percentage of perpetrators are never arrested.

If an arrest occurs, well over 90 percent never reach the trial stage, and the vast majority of plea-bargained convictions terminate in private, with the victim nowhere near the negotiating venue. Even when conventional wisdom maintains that a prison sentence is a positive outcome for the victim, Sered has learned that rarely do victims heal quickly—if ever. The physical injuries and/or mental anguish do not disappear simply because a perpetrator is incarcerated. In addition to destroying myths about victimhood, the author attacks incarceration as a positive outcome for anybody, especially because prisons offer no accountability from the perpetrator that reaches the victim and no rehabilitation that benefits society eventually.

Violence in every neighborhood must be attacked at its roots, Sered argues convincingly, and the evidence is overwhelming that mass incarceration never halts ongoing neighborhood violence. “If incarceration worked to secure safety,” she writes, “we would be the safest nation in all of human history....If incarceration worked to stop violence, we would have eradicated it by now—because no nation has used incarceration more.” The author provides clear, specific evidence for her contention that the new conventional wisdom must be survivor-centered, accountability-based, safety-driven, and racially equitable.

The case studies of restorative justice that punctuate every chapter offer undeniable proof that Common Justice’s tactics are succeeding and should be more widely applied.

A top-notch entry into the burgeoning incarceration debate.

SUMMONED AT MIDNIGHT A Story of Race and the Last Military Executions at Fort Leavenworth Serrano, Richard A. Beacon (240 pp.) $27.95 | Feb. 5, 2019 978-0-8070-6096-4

Disconcerting exposé of a littlerecalled era of death penalty discrimination in the U.S. military.

Serrano (Last of the Blue and Gray: Old Men, Stolen Glory, and the Mystery that Outlived the Civil War, 2013, etc.), a Pulitzer Prize–winning former Washington correspondent for the Los Angeles Times, unearths a disheartening tale of unequal justice during the period between World War II and the major events of the civil rights movement regarding soldiers who received the ultimate sanction for committing rape or murder. Yet once on the military’s death row at Fort Leavenworth prison, their fates obeyed the color line: “All on death row, white and black, kirkus.com

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clearly recognized that in the late 1950s, none were treated alike....Eight white soldiers spared, eight black soldiers hanged.”

Serrano focuses on the crime and punishment of John Bennett, an uneducated black soldier from impoverished Jim Crow roots, who drunkenly assaulted a young Austrian girl; although she survived, a court-martial swiftly sentenced him to death. After several years, as the backing for capital punishment appeared to wane, he was last on death row, fueling support for commutation of his sentence, as had been done for white soldiers who had committed similar crimes. Over six years of legal battles, his case attracted prominent supporters like psychiatrist Karl Menninger and prison doctors who argued his lifelong epilepsy might’ve influenced the crime. Still, the military’s position remained that Bennett’s death “was necessary.” Because the arc of Bennett’s sad legacy is straightforward, the author builds the narrative in engaging digressions, covering the development of Leavenworth, Dwight Eisenhower’s frosty relationship with desegregation, and the lawyers and activists who mounted a lonely crusade on behalf of the condemned black soldiers. Serrano paces his slim account for maximum suspense, but Bennett’s execution feels increasingly foreordained, particularly when the putatively liberal John F. Kennedy declines to secondguess his predecessor. The author’s scrupulous research ably captures a shameful time during the military’s halting journey toward integration.

A compact, engrossing historical meditation with clear relevance to current controversies over race and punishment.

THE ALPHABET BOMBER A Lone Wolf Terrorist Ahead of His Time Simon, Jeffrey D. Potomac Books (288 pp.) $29.95 | Mar. 1, 2019 978-1-61234-996-1

The story of the prototype of “lone wolf ” terrorism, decades before the term was coined.

Simon (Lone Wolf Terrorism, 2013, etc.), the president of a security and terrorism research consulting company, delves into a fascinating, all-but-forgotten case. The August 1974 bombing at the Los Angeles International Airport, which occurred just two days before Richard Nixon’s resignation, was “the first time an airport had been bombed anywhere in the world.” It also remains “one of the deadliest incidents of terrorism in Los Angeles history,” leaving three dead and 35 injured. A group called “Aliens of America” took credit for the attack, which generated a host of copycat threats as well as explosions that were misattributed to that group. Since this was also during the period when the Symbionese Liberation Army was wreaking havoc, dominating headlines and law enforcement efforts, there was some confusion over who was doing what and influencing whom. The author makes a strong case that the bombing offered more to fear than the SLA, which 68

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was more specific in its targets, and also that the SLA’s media strategy influenced that of Aliens of America. There was, in fact, no such group, just Muharem Kurbegovic, a bright and creative and unbalanced immigrant from Yugoslavia, who had found his ambitions thwarted by an arrest for “lewd conduct.”

Though he was acquitted on the charge, it prevented him from receiving a commercial license for a business, kept him unemployed for a year, and put his citizenship application on hold.

So he schemed to take spectacular revenge, setting fire to the houses of a judge and then two of the police officials involved in the case and then bombing the airport (the “a” in the alphabet murders he planned to commit). The matter-of-fact account of the clues he left and the difficulties in prosecuting him—was he sane enough to stand trial?—has plenty of ramifications for threats faced today.

A historical account of a unique form of terrorism that offers lessons for today.

HOW WE FIGHT WHITE SUPREMACY A Field Guide to Black Resistance

Solomon, Akiba & Rankin, Kenrya Nation Books (304 pp.) $17.99 paper | Mar. 26, 2019 978-1-56858-849-0

Two journalists present their conversations with people of color about approaches to resisting white supremacy, which “defines our current reality.”

Solomon (co-editor: Naked: Black Women Bare All About Their Skin, Hair, Hips, Lips, and Other Parts, 2005) and Rankin (editor: Bet on Black: African-American Women Celebrate Father­ hood in the Age of Barack Obama, 2013), colleagues at Colorlines, present “a curated, multidisciplinary collection that serves as a showcase for some of our most powerful thinkers and doers.” At the opening of each chapter, which covers grassroots organizing and the necessity of gallows humor in the face of discrimination, among many other topics, the authors give their views on why that topic relates to the resistance. At the end of each chapter, Solomon and Rankin offer deeply personal, uncompromising reflections. For example, at the end of “Laugh to Keep from Crying,” Solomon writes, “laughing is an underground railroad for those of us lucky to ride its tracks, the vehicle through which we have mushed you in your savage face for murdering us because you are a land-thieving lazy ass who believed that something called God told you to kidnap, dehumanize, and torture other people into doing your fucking farming, child care, and nation-building.” Though the book was composed with “Black folks in mind,” the lessons for any reader are apparent and highly useful. Some of the contributors will be familiar to readers who pay attention to contemporary literature and racerelated issues—e.g., Ta-Nehisi Coates, Patrisse Khan-Cullors, Mumia Abu-Jamal, Imani Perry, and Kiese Laymon—and any reader who believes strongly in their own progressivism will still |

Taylor illuminates in graphic detail the scars caused by some of the worst elements of law enforcement in a city perpetually beset by violence. the torture machine

THE TORTURE MACHINE Racism and Police Violence in Chicago

learn from various passages about how people of color deal with certain realities every day. As these pieces demonstrate, white supremacy does not always take obvious forms such as violence; Solomon, Rankin, and the other contributors show that it can take subtler forms.

A powerful anthology that might indeed fulfill the wish of the co-authors that readers craft potent strategies to resist white supremacy.

INFINITE POWERS How Calculus Reveals the Secrets of the Universe

Strogatz, Steven Houghton Mifflin Harcourt (384 pp.) $28.00 | Apr. 2, 2019 978-1-328-87998-1

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A founding partner of the Chicagobased People’s Law Office recounts his career fighting on behalf of victims of police malfeasance, especially torture

and wrongful death.

“If the torture machine teaches one lesson above all, it is that torture is as American as apple pie,” writes Taylor, whose long career is a catalog of hard-fought battles for racial justice waged in Chicago’s courtrooms. In this personal narrative, Taylor offers no introductions or preludes, plunging straight into the heart of the beast: a morass of police corruption and conspiracy dating back to the December 1969 assassinations of Black Panther leaders Fred Hampton and Mark Clark. Discussing his arrival on the scene of what authorities were selling as a police raid gone wrong, the author writes, “shock and grief soon met with the dawning realization that the police claims of a shootout were bold-faced lies. We were looking at a murder scene.”

Thus begins the harrowing tale of the author’s 13-year crusade with the PLO “to uncover and expose the truth about that murderous raid.” The author also chronicles the next three decades spent seeking justice for survivors of a conspiracy of brutal torture carried out by police during their investigations. Sparing no details, Taylor reveals the police force’s reign of terror and the Gestapo-like interrogation tactics administered by Lt. Jon Burge and his squad of “confederates.” For 20 years, using a variety of tactics, including suffocation, pistol-whipping, and electric shock—all under a cloak of secrecy—Burge and company beat confessions from dozens of victims. The author uncovers stories of secret files, a code of silence among police officers, and complicity among politicians, and he shows how he and the PLO worked for years to free prisoners whose incarcerations were based on torture confessions while winning “more than $35,000,000 in settlements, verdicts, and reparations for more than sixty torture survivors.”

Taylor illuminates in graphic detail the scars caused by some of the worst elements of law enforcement in a city perpetually beset by violence.

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A complex attempt to render calculus accessible.

Strogatz (Applied Mathematics/Cornell Univ.; The Joy of X: A Guided Tour of Math, from One to Infinity, 2013, etc.) emphasizes that “calculus is an imaginary realm of symbols and logic” that “lets us peer into the future and predict the unknown. That’s what makes it such a powerful tool for science and technology.” It works by breaking problems down into tiny parts—infinitely tiny—and then putting them back together. Breaking down is the work of differential calculus; putting together requires integral calculus. Early civilizations, including the Babylonians, Greeks, and Chinese, had no trouble measuring anything straight, including complex structures such as the icosahedron, but curves and movement caused problems. Thus, finding the area of a circle by converting it into a 10-sided polygon and measuring the polygon’s area yields a fair approximation. A 100-sided polygon gave a more accurate result. Perfection required a polygon with an infinite number of infinitely small sides, but dealing with infinity was particularly tricky. Invented in its modern version by Newton and Leibniz in the late 17th century, calculus solved the problem. Readers who pay close attention to Strogatz’s analogies, generously supplied with graphs and illustrations, may or may not see the light, but all will enjoy the long final section, which eschews education in favor of a history of modern science, which turns out to be a direct consequence of this mathematics.

The best introduction to calculus remains a textbook—Calcu­ lus Made Easy by Silvanus P. Thompson—published in 1910 and, amazingly, still in print. Readers who dip into Thompson will understand Strogatz’s enthusiasm. His own explanations will enlighten those with some memory of high school calculus, but innumerate readers are likely to remain mystified.

An energetic effort that successfully communicates the author’s love of mathematics, if not the secrets of calculus itself. (96 b/w illustrations)

Taylor, Flint Haymarket (432 pp.) $27.00 | Feb. 19, 2019 978-1-60846-895-9

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FIRST Sandra Day O’Connor

THE WOMEN’S SUFFRAGE MOVEMENT

Thomas, Evan Random House (512 pp.) $30.00 | Mar. 19, 2019 978-0-399-58928-7

Ed. by Wagner, Sally Roesch Penguin (432 pp.) $17.00 paper | Mar. 5, 2019 978-0-14-313243-1

The bestselling author delivers a new biography of Sandra Day O’Connor (b.

1930), the first woman appointed to the United States Supreme Court.

Thomas (Being Nixon: A Man Divided, 2015, etc.), the former longtime correspondent and editor at Time and Newsweek, shows a woman who “saw herself as a bridge between an era where women were protected and submissive to an era of true equality of the sexes.” However, writes the author, “she did not regard herself as a revolutionary. Her success was owed in no small part to her ability to marry ambition to restraint.” Though a bit slow at first, the narrative establishes an essential background to understanding O’Connor as a woman who effectively navigated the shifting political landscape facing many women of her generation. Through Thomas’ lens, readers discover O’Connor as a driven, confident woman who seldom pushed others to acknowledge the impact of gender on expectations or success. She was capable of ignoring sexism of her peers but was committed to public service, civility, and principles of equality. Mindful not to draw too many conclusions about O’Connor’s beliefs, which she kept guarded, Thomas shines a clear light on her savvy, incremental approach to social change.

From her professional charm and humor to her stylish grace, the author presents a significant view of O’Connor that contextualizes her political sensibilities. Peppered with tidbits about her personal life, the overall well-rendered portrait bears out the contradictory truths of her liminal position between traditional and evolving roles for women. At times, Thomas’ conclusions border on restrained, but that befits his subject. The author is at his best addressing the cases that came before SCOTUS during O’Connor’s era. Thomas ably shows O’Connor’s pivotal role in reaching resolutions regarding such issues as abortion, affirmative action, and voting rights. The author also sheds light on O’Connor’s nuanced legal prowess and her sensitivity to the tumultuous rise of partisanship.

An important biography of a trailblazing woman, the book illuminates its subject’s strength at pinpointing a path forward in complex times.

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Primary documents provide insight into the struggles within the women’s suffrage movement in the United States up until the ratification of the 19th Amendment in 1920.

Historian Wagner (Sisters in Spirit: Haudenosaunee (Iroquois) Influences on Early American Feminists, 2001, etc.) opens with a chapter about the key role of women in the Iroquois Confederacy in upstate New York before the United States became a nation. “Unlike almost every other historian,” writes Gloria Steinem in the foreword, “[Wagner] doesn’t treat this country as if it began with Columbus.” Wagner then moves on to discuss the development of the women’s suffrage movement in the decades before the first national women’s rights convention in 1850. Covering the years from the 1850s to 1920, the editor devotes a chapter to the events of each decade. An introduction to each chapter provides a generous amount of historical context, which brings the implications of the primary documents—some of which are included in full and others of which are excerpted—into focus. These documents include speeches at women’s rights conventions and to the general public, and they reveal the striking tensions between various factions of the movement as well as their commonalities. Wagner broadens her subject to include not just discussions of women’s suffrage, but also birth control, “free love,” divorce, and women’s economic and social rights. The structure of the volume makes clear the protracted nature of the struggle and how many now-littleknown individuals were involved in it in addition to famous figures like Elizabeth Cady Stanton and Susan B. Anthony. Wagner never hesitates to point out the flaws in her subjects and the movement, notable among which is the fact that the “suffragists,” as they called themselves, were often casually or even intentionally racist, arguing that educated white women were more deserving of political power than ex-slaves.

Abundantly useful for aspiring scholars, while those with a casual interest in the subject will be struck by its surprising complexity.

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Poignant interviews by survivors and thoughtful reflections by a skilled journalist and historian combine to create a truly touching war portrait. men of air

MEN OF AIR The Courage and Sacrifice of Bomber Command in World War II

EATING TOMORROW Agribusiness, Family Farmers, and the Battle for the Future of Food

Wilson, Kevin Pegasus (448 pp.) $29.95 | Feb. 5, 2019 978-1-64313-006-4

Wise, Timothy A. New Press (256 pp.) $26.99 | Feb. 5, 2019 978-1-62097-422-3

A comprehensive exploration of the Royal Air Force’s enormous toil and sacrifice in their efforts to wear down the

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Luftwaffe.

British journalist Wilson (Airborne in 1943: The Daring Allied Air Campaign over the North Sea, 2018, etc.) interviewed more than 100 surviving participants of these squadrons, along with members of the Women’s Auxiliary Air Force and German fighters and witnesses, and he creates an eloquent, moving account of these relentless raids over German territory in the opening months of 1944. The author begins in medias res, with the grueling Battle of Berlin, a three month–long campaign that would grow so disastrous in numbers—6,185 crewmen lost their lives, 133 would become prisoners of war, 492 night bombers perished—that it ultimately proved a “campaign that [drained] the lifeblood from Bomber Command.” Moreover, the extent to which it contributed to the crippling of the Nazi war machine is debatable, as the damage to Berlin was relatively mild, to the dismay of Air Marshal Arthur “Butch” Harris, who had promised Prime Minister Churchill that the Berlin air campaign “would cost Germany the war.” However, unlike the firestorm that destroyed Hamburg the previous July, the wide boulevards of Berlin did not lend themselves to extensive area-bombing damage. British soldiers were further hindered by the foul weather and the ingenious “Schräge Musik” design of the German Nachtjäger planes, which were effective against the British Lancasters and Halifaxes. Wilson organizes the narrative by season, moving from winter’s heavy tolls and lowest points of morale after night campaigns over Berlin, Magdeburg, Leipzig, and Nuremberg to spring’s more successful Transportation Plan—i.e., cutting German lines of communication in northern France and Belgium in the run-up to D-Day. Ultimately, despite Harris’ resistance, it was the targeting of the oil plants in the Ruhr that would be “the war winner.”

Poignant interviews by survivors and thoughtful reflections by a skilled journalist and historian combine to create a truly touching war portrait. (16 pages of b/w photos)

The ravages of climate change come into sharp focus in this exhaustive report from the front lines.

It is a scientific fact that the planet is warming. But how bad is climate change really? Based on the information in this country-hopping exploration of genetically modified seeds, vast land grabs in developing nations, the biofuel boom, and agribusiness overreach, we are in trouble. From Malawi to Mexico, Iowa to India, Wise, the senior researcher at the Small Planet Institute and director of its Food Rights Program, examines the complicated and confusing decisions that have brought us to the current situation: “hunger amid plenty.” The author argues convincingly that the main culprit is large-scale, industrial agribusiness. “Everywhere I traveled in researching this book,” he writes, “agribusiness interests were being promoted, to the detriment of family farmers, the environment, and the food and nutritional security of the world’s poor.” In Mexico he illustrates this point by writing about the fight of La Demanda Colectiva, a small group of farmers, consumers, and environmentalists who petitioned a ban on GM corn because they believed it would threaten the country’s maize diversity. Against all odds, Wise reports, an injunction remains in place, and the “Sin Maíz no hay País” (Without Corn There Is No Country) campaign has been able to continue its fight against Monsanto and other multinational agro-chemical conglomerates. However, that doesn’t mean GM corn hasn’t already left its mark, be it through American crop exports to the country or contamination. Regardless, the author believes that even in the midst of climate change and food insecurity, there’s reason to remain hopeful. “In the battle for the future of food,” he writes, “farmer resistance is strong, and so are their alternatives, many advanced under the banner of ‘food sovereignty.’ ” At times overwhelming in its scope, the book is a grave and timely look at the future of feeding the planet. (18 b/w images)

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INTERVIEWS & PROFILES

Carl Reiner [Sponsored]

THE FILM LEGEND REMEMBERS A LIFE WELL-LIVED

By Megan Labrise parents’ second son, born March 20, 1922, in the Bronx.

“My brother and I were small, so they took us, and that was a scary thing! I watched it through my fingers, I remember. [Faust] was a scary guy, and I do remember later on I learned that Emil Jannings was Hitler’s favorite actor, so I was right to be frightened by him.”

Love, not fear, is the driving force behind a pair of unique autobiographies charting Reiner’s rise from moviegoer to movie star, moviemaker, and the ultimate film aficionado: Alive at Ninety-Five: Recalling Movies I Love (1915-1950) and Approaching Ninety-Six: The Films I Love Viewing & Loved Doing (1951-2017). Each stately volume presents hundreds of the movies that helped shape his comedy, acting, directing, politics, and sense of justice.

“First of all, it’s the movies I remember seeing,” Reiner deadpans. “I had a look through what went on those years—I saw that, saw that, missed that, saw that—and what my favorites were.

“The comeuppance movies, to this day, are my favorites of all time,” he says, “and the best movie of all time is The Count of Monte Cristo. I never saw one as good....The uglier and nastier the villains are, the better I like it, and At 96 1/2, Carl Reiner still makes people laugh.

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the comeuppance they get is such a pleasure to watch. As

His Hedy Lamarr impression? Perfection. On the

a matter of fact, I watched one yesterday—I must have

phone from his house in Beverly Hills, he recites, with

seen it two or three times—The Net, with Sandra Bullock.

precise diction, Queen Gertrude’s speech on the death

It’s got that great comeuppance at the end.”

of Ophelia, the first Shakespearean lines he learned as a

Beginning with Faust in Alive at Ninety-Five and end-

student of English actress Mrs. Whitmore. And he viv-

ing with Ocean’s Eight, another Bullock flick, in Approach­

idly remembers his first time at the movies, in 1928, for a

ing Ninety-Six, Reiner presents a brief summary of each

screening of Faust, starring Emil Jannings.

film followed by a full-page, full-color reproduction of

“My father and mother went to the movies once a

its original poster. Opposing pages feature quotes from

week, and they couldn’t leave us home,” says Reiner, his

film critics (not all of whom he agrees with), stills from

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RYE

about what I love,” Reiner says. “[It’s] like sitting at the feet of an old man who says, ‘You should have seen, you should have seen...!’ Now they can see. I explain the movies well enough so [you might] say, ‘Oo! I’d like to see that!’—so that’s what I can do, remind people that there’s stuff out there that they might enjoy if they saw it. They’ll know immediately, when they see the components of these movies, the stars and the stories.”

Alive at Ninety-Five and Approaching Ninety-Six are available exclusively through Random Content Ink, a media management agency Reiner devised to help artists leave legacies through storytelling across platforms.

When purchasing at Randomcontent.com, readers are invited to ask Reiner a question about the movies—or anything!—and he’ll respond when he signs the book.

“At their best, movies can truthfully tell the story of what is going on without directly commenting on it,” Reiner concludes. “By reflecting the mores of the day and how people are reacting to each other, they tell us who we 12/20/17 5:50 PM

the movie, and his own analyses, fun facts, and anecdotes,

are and what we are and what we value. That’s about the

like this story accompanying The Wizard of Oz:

best that [art] can do for us.”

I had the privilege of appearing with the star of The Wizard of Oz, Judy Garland, on her TV talk shows, Here’s Hollywood and The Judy Gar­ land Show. On each show I reiterated how much I loved her when I was sixteen and how we were both the same age.

“Now we’re both thirty-seven,” she added, “and isn’t thirty-seven a shitty age? Thirty-eight is ok, it’s a round number and it’s close to forty, when they say “life begins.”

Yes, Judy actually did say, “sh—ty,” which made me love her all the more.

Carl Reiner Approaching Ninety-Six...

BALLS

“It’s really a very personal thing that I’m telling things

Approaching Ninety-Six gives readers a director’s-eye view of The Jerk and personal favorite Dead Men Don’t

Wear Plaid as well as the inside scoop on the famous comedy sketch the “2000 Year Old Man” and dear friend Mel 2017 Arri Alexa Camera

Brooks (History of the World, Part I, To Be or Not to Be, etc.)

...And I Lo

Approaching Ninety-Six

The Films I Love Viewing & Loved Doing (1951-2017)

Cont’d o

and actor/producer/director/son Rob Reiner (Spinal Tap, The Princess Bride, When Harry Met Sally, The Shawshank Redemption, etc.). |

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children’s These titles earned the Kirkus Star:

GARGANTUA (JR!) by Kevin Sylvester............................................ 118 TITO THE BONECRUSHER by Melissa Thomson..............................119

UNA HUNA? by Susan Aglukark; illus. by Danny Christopher & Amanda Sandland................................................................................ 75

FRIENDS by Geraldo Valério.............................................................120 SPY RUNNER by Eugene Yelchin....................................................... 123

THE LIBRARY OF EVER by Zeno Alexander....................................... 77

SEASONS by Philip Giordano...........................................................126

THE LINE TENDER by Kate Allen....................................................... 77

SUPER MAZES IN SPACE! by Loic Méhée; trans. by Wendeline A. Hardenberg.................................................... 127

ORANGE FOR THE SUNSETS by Tina Athaide.................................79 B IS FOR BABY by Atinuke; illus. by Angela Brooksbank..................79 NOAH BUILDS AN ARK by Kate Banks; illus. by John Rocco...........81 THE NEXT GREAT PAULIE FINK by Ali Benjamin........................... 82 THE MIGHTY HEART OF SUNNY ST. JAMES

by Ashley Herring Blake.......................................................................83 CLACKETY TRACK by Skila Brown; illus. by Jamey Christoph....... 84 WHEN GRANDMA GIVES YOU A LEMON TREE

by Jamie L.B. Deenihan; illus. by Lorraine Rocha............................. 86 FOCUSED by Alyson Gerber................................................................ 94 FAST ENOUGH by Joel Christian Gill............................................... 94 LITTLE DOCTOR AND THE FEARLESS BEAST

by Sophie Gilmore................................................................................ 94 THE SECOND SKY by Patrick Guest; illus. by Jonathan Bentley.......95 UNDERWEAR! by Jenn Harney.......................................................... 96

WHEN SPRING COMES TO THE DMZ

SAL AND GABI BREAK THE UNIVERSE by Carlos Hernandez ......97

Lee, Uk-Bae Illus. by the author Trans. by Won, Chungyon & Won, Aileen Plough (40 pp.) $17.95 | Mar. 1, 2019 978-0-87486-972-9

COOKING WITH BEAR by Deborah Hodge; illus. by Lisa Cinar..... 98 PUDDLE by Richard Jackson; illus. by Chris Raschka......................100 THE PROPER WAY TO MEET A HEDGEHOG ed. by Paul B. Janeczko; illus. by Richard Jones.................................101 BEAST RIDER by Tony Johnston & María Elena Fontanot de Rhoads......................................................101 WHEN SPRING COMES TO THE DMZ by Uk-Bae Lee; trans. by Chungyon Won & Aileen Won............................................. 103 WHEN YOU’RE SCARED by Andrée Poulin; illus. by Véronique Joffre; trans. by Karen Li...................................109 TREE OF DREAMS by Laura Resau................................................... 111 ANOTHER by Christian Robinson..................................................... 113

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THE FARMER

Abadia, Ximo Illus. by the author Holiday House (44 pp.) $17.99 | Mar. 19, 2019 978-0-8234-4158-7

UNA HUNA? What Is This?

Aglukark, Susan Illus. by Christopher, Danny & Sandland, Amanda Inhabit Media (36 pp.) $16.95 | Apr. 2, 2019 978-1-77227-226-0 Surrounded by the people she loves, Ukpik finds her traditional Inuit village changing as southern traders reach her homeland.

Based on the author’s memories, this picture book documents the jarring effects of contemporary culture on an Inuit child living in the farthest reaches of North America. It is summertime, and young Ukpik is delighted with her new husky puppy. As she goes about her chores on the open tundra, she ponders what to call him. She runs through her list of potential names—boss, sweetie, toy, pretty—offering readers an Inuktitut language lesson before a ship arrives. Suddenly, her father, or ataata, is shouting orders. Everyone in her camp is bustling about in preparation for the visitors, and Ukpik’s new dog is eclipsed for a moment by other novelties. Ataata trades his sealskins and fox furs for never-before-seen utensils: knives, forks, and spoons. Initially excited by them, Ukpik begins to |

THE NATURE GIRLS

Aki Illus. by the author Godwin Books/Henry Holt (32 pp.) $16.99 | Mar. 5, 2019 978-1-62779-621-7 The same 16 inquisitive gals from The Weather Girls (2018) are now traipsing through different biomes to investigate nature.

The identical yellow slickers in the first foray turn into matching yellow safari outfits as the girls set out to explore.

They see some bunnies in their own backyard, but a quick page turn places them at a beach swimming with dolphins. In swift succession they march through a rainforest and then a desert (getting some transportation help from a camel). They board a safari vehicle through the grasslands, pile into a plane to the tundra, mush a dog sled across the ice, and end up in a boat traveling to the forest. Each habitat shows a smattering of animals that vigilant readers will have to spot since the bouncy text is rather vague: “It’s time to go. / We march along. / We smile at birds / and share their song.” (In addition to the several types of birds in the accompanying rainforest scene, there are a bush baby, a gecko, a butterfly, and a spotted frog.) Some biomes are named specifically; most are more fully explained in the backmatter. (The poor rainforest is a bit lost in further discussion.) Aki’s playful art shines, showing sneaky tongues out and great big, wide grins on the diverse tots. Mischievous moments add mirth, as when one climbs the sailboat’s mast and another swings from the camel’s tail. A concluding silhouette hints at more adventures to come.

Only rudimentary as a scientific primer but delightful as a harmonious collection of details to pore over. (Picture book. 3-6)

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A hardworking farmer, toiling solo until his well runs dry, is aided by helpful friends and timely rain.

“Paul mows...rakes...digs...[and] draws water” in successive spreads, one per action. After his well fails, the searing sun dominates a double spread, dwarfing Paul’s farmhouse and blackened crops. “But Paul is not alone”—a silhouetted cow, donkey, mole, and bird (all seen in earlier spreads) parade forth, bearing water and implements—“and his friend the rain is never truly far away.” A page turn reveals Paul’s lush, lovely crops—the result of his close observation, intense labor, and a hefty dose of good luck. Abadio’s naïve compositions convey a winsome bemusement that never mocks Paul, a white man who is matterof-factly portrayed with a large, beaky red nose, tall black hat, and ballooning red overalls. Paul is absent or visually minuscule in some spreads—a nod to the central role that the land plays in the lives of farmers. Gentle humor is visual, as when a succession of Pauls peer from a series of mole holes. Compositions, all done on yellow paper, are striking: Mirroring the spread with the enormous sun is an equally mammoth moon that silhouettes Paul’s tiny house; in another, Paul stands level with the bottom of the dry well looking up, the bucket resting in futility at the bottom of the aquifer.

Charmingly unassuming, rather like Paul himself.

(Picture book. 3- 6)

feel anxious as she realizes the items represent an unseen world lurking at the boundary of her own. The book’s final pages contain a deeply touching moment as Ukpik’s uncertainty forces her to lean on the wisdom of her grandmother, who gives her advice about the permanence of love in the face of monumental change. Simple yet realistic cartoon illustrations of the isolated northern tundra complement the book’s thematic content without overpowering the author’s unique perspective.

A meaningful portrait of a young child living and loving in a unique period of North American history. (Picture book. 5- 7)

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board-book and novelty changes in 2019 Photo courtesy Leah Overstreet

Regular readers of Kirkus Re­ views know that it is a point of pride to make our opinion known on any given book before anyone else does and to express that opinion on as many books as humanly possible. I have a beloved T-shirt left over from my early days as a reviewer that bears the proud legend “da fustest wid da mostest.”

To this end, we primarily work with prepublication review copies made available to us in whatever form allows us to read them and write about them fastest: bound printed galleys, folded-and-gathered pages, digital proofs, printouts, electronic files. And often if we don’t get them in time to review before publication, we don’t review them at all.

But there are two types of books that we cannot review from anything other than the finished edition: novelty books and board books. It is critical that we see and touch what young readers will see, touch, and, in many cases, chew. A review of a novelty or pop-up 76

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book based on notional manipulations is pretty useless. And an unknowingly positive review of a board book with a detachable moving part we are unaware of could have fatal consequences.

As it is frequently impossible to get finished materials in time for prepublication review, for the past 10-plus years we have been rounding them up retrospectively, board books in the Jan. 1 and July 1 issues and novelty books in our Dec. 1 issue. To recast that T-shirt slogan, we have been emphasizing da mostest over da fustest with these two types of books.

However, since our first roundup of 14 board books, in the July 1, 2008, issue, these sections have grown steadily. Our Dec. 1, 2018, novelty and pop-up roundup included 54 reviews, and the Jan. 1, 2019, board-book roundup dwarfed the rest of the children’s section with 125 reviews. Moreover, although we have been publishing these reviews online as we do them, holding them from print publication means both our print subscribers and subscribers to our licensees’ products learn about them in many cases months after they’ve been on the market. I am pretty sure that we cover da mostest, but for too many of our readers our reviews are far from da fustest.

Therefore, with this issue, we launch a monthly roundup of novelty and board-book reviews; it will appear in the second issue of each month, on the 15th, and will gather all reviews of these formats we have done in the past month. This issue’s roundup is a manageable 12 reviews and covers such delights as Super Mazes in Space!, by Loic Méhée and translated by Wendeline A. Hardenberg, and Puppy Talk, by J.C. Coates.

In this way we hope still to achieve da mostest and to be at least fustest-er. —V.S. Vicky Smith is the children’s editor. |

As if realistically typical reference work isn’t hard enough on its own, along the way Lenora is repeatedly attacked by bowlerwearing villains collectively known as the Forces of Darkness and dedicated to the suppression of intellectual freedom. the library of ever

ANNA STRONG AND THE REVOLUTIONARY WAR CULPER SPY RING

Alberti, Enigma Illus. by Terry, Laura Workman (96 pp.) $12.95 | $15.95 PLB | Apr. 2, 2019 978-1-5235-0216-5 978-1-5235-0794-8 PLB Series: Spy on History

THE LIBRARY OF EVER

Alexander, Zeno Imprint (208 pp.) $16.99 | Apr. 30, 2019 978-1-250-16917-4

A bored preteen discovers that there’s more to library work than developing a world-class “SHUSH” or shooting through librarian-sized pneumatic tubes.

Indeed, hardly has 11-year-old Lenora stepped through the mysterious portal that connects her public library to a much, much larger one then she is invited to take the librarian’s oath (“Do you swear to venture forth bravely and find the answer to any question, no matter the challenge?”).

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THE LINE TENDER

Allen, Kate Illus. by the author Dutton (384 pp.) $17.99 | Apr. 16, 2019 978-0-7352-3160-3

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A strong main character and an engaging story make for a revolutionary read.

The career of Anna Strong occupies a fascinating footnote in American history. Was she merely a farmer’s wife, or was she a member of one of the most daring spy rings in our country’s history? The pseudonymous author presents a fictionalized version of Anna’s life in the third volume of the Spy on History series. The examination begins during the throes of the American Revolution. After Anna’s husband is imprisoned and then freed, thanks to Anna’s family connections, and returns to patriot-controlled Connecticut, Anna is pulled into a plot to signal a fellow patriot and pass along information. The plan is simple: Anna uses a black petticoat and a series of handkerchiefs to relay a meeting place. “Alberti” pulls readers into the chaos of Anna’s life (and the war) through an omniscient narrator that documents Anna’s movements over the next year. Astute readers will also realize the dangers women faced from soldiers (and fellow countrymen) during this period. Terry’s loose, two-color illustrations depict an all-white cast and provide an additional sense of movement to the text. The trade edition includes a “Spycraft Kit” in the form of an enclosed envelope with inserts for solving a final coded mystery; the library edition publishes without these inclusions for ease of circulation. Backmatter explains the history of the Culper Spy Ring and its role in exposing Gen. Benedict Arnold.

Spy fans and cryptographers will seek this one out. (historical note, answers, bibliography) (Historical fiction. 10-12)

whirled off on a series of assignments that take her from the year 8000 to correct a leap-year misconception to a near stranding on a massive globe as she searches for the place with the world’s longest name. And as if such realistically typical reference work isn’t hard enough on its own, along the way she is repeatedly attacked by bowler-wearing villains (some of them robots) collectively known as the Forces of Darkness and dedicated to the suppression of intellectual freedom. Fortunately, being the resourceful sort who gets a thrill of pleasure from realizing that she is lost, Lenora is well up to most challenges—and for the rest she gets solid support from a multispecies supporting cast led by her supervisor, Chief Answerer Malachi. Lenora presents white; Malachi is a 10-foot-tall, dark-skinned woman.

Not the first tale to be set in a universal library but unusually clever in the details and commendably accurate in its own way. (Fantasy. 9-11)

Lucy finds solace in her late mother’s passion for shark biology during a summer that brings a new grief.

First-person narrator Lucy and neighbor Fred are compiling a field guide to animals they find near their Rockport, Massachusetts, home.

Lucy is the artist, Fred the scientist, and their lifelong friendship is only just hinting that it could become something more.

Lucy’s mother, who died of a brain aneurysm when Lucy was 7, five years earlier in 1991, was a recognized shark biologist; her father is a police diver. When a great white is snagged by a local fisherman—a family friend—video footage of an interview with Lucy’s mother surfaces on the news, and Lucy longs to know more. But then another loved one dies, drowned in a quarry accident, and it is Lucy’s father who recovers the body—in their small community it seems everyone is grappling with the pain.

Lucy’s persistence in learning about the anatomy of sharks in order to draw them is a kind of homage to those she’s lost. Most of the characters are white; a marine scientist woman of color and protégée of Lucy’s mother plays a key role. Allen offers, through Lucy’s voice, a look at the intersection of art, science, friendship, and love in a way that is impressively nuanced and realistic while offering the reassurance of connection.

Rich, complex, and confidently voiced. (Historical fiction.

11-14)

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Ansari trusts her audience with a complex narrative that traverses the breadth of time and the depths of self. the missing piece of charlie o’reilly

RECIPE FOR DISASTER

Angleberger, Tom Illus. by Chapman, Jared Amulet/Abrams (112 pp.) $12.99 | Mar. 19, 2019 978-1-4197-3370-3 Series: Didi Dodo, Future Spy, 1 Angleberger delivers a beginning chapter book in a series about two goofy dodo birds on a mission.

Accomplished, cautious baker Koko Dodo and self-proclaimed “future spy” Didi Dodo embark on an adventure to find Koko’s stolen Super Secret Fudge Sauce, which she needs in order to win the Queen’s Royal Cookie Contest, held that very afternoon. Didi, drawn as a gangly dodo bird on roller skates with a battered fedora and round glasses, is always ready to propose a “daring plan” in response to their latest obstacle. Brief chapters, ample cartoon illustrations, and occasional other visuals such as recipe cards and comic strips will move along emergent and reluctant readers alike. Frequent, emphatic expostulations (“WHUT ARE YOO BURDS DOON IN MAH RELISH?”) are likely to find the audience divided into love-them or hate-them camps. As Didi and Koko seek the secret ingredient and race to reach the cookie contest in time, they encounter a rapping Chihuahua, an angry yak, a penguin in a food truck, and more. The denouement reveals that just about everyone is guilty of one crime or another. While the stated goal of this tale is to determine the thief, the underlying objective is to take readers on a raucous roller-coaster ride.

This bite-sized book is for all the kids who love Inspector Flytrap, with whom Koko Dodo made her initial appearance. (Mystery. 8-10)

THE MISSING PIECE OF CHARLIE O’REILLY

Ansari, Rebecca Walden Pond Press/HarperCollins (400 pp.) $16.99 | Mar. 5, 2019 978-0-06-267966-6 Forgotten brothers, lost children, and the deep bonds of family and forgiveness come together with a touch of the supernatural in Ansari’s ghostly mid-

dle-grade thriller.

Twelve-year-old Charlie’s younger brother, Liam, has disappeared, but Charlie is the only one who remembers that he ever existed. For a year, Charlie has watched his family steadily fall apart in his brother’s absence: his mother slipping further into her depression, his father constantly away on business, and Charlie himself sitting through endless (and useless) therapy sessions and enduring vivid nightmares of century-old tragedies. His only solace is his best friend, who believes Charlie about Liam even if she also doesn’t remember him, and a young new baseball coach who tells Charlie of a hidden home for children so burdened by regret that 78

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they wish themselves never born—a tale that holds not only the answers to Liam’s disappearance and Charlie’s dreams, but a great deal more. Ansari trusts her audience with a complex narrative that traverses the breadth of time and the depths of self. The weave of guilt, family struggle, and forgiveness both complicates and complements questions of love and self-acceptance. The tiresome trope of the self-hating gay character briefly rears its head, and the romanticization of Mom’s depression veers away from what could be a fully nuanced representation—a few flaws that mar an otherwise excellent debut. The book assumes a white default.

Plot twists that’ll turn even veteran readers’ heads.

(Supernatural mystery. 11-14)

BADGER’S PERFECT GARDEN

Arnold, Marsha Diane Illus. by Kaulitzki, Ramona Sleeping Bear Press (32 pp.) $16.99 | Mar. 15, 2019 978-1-53411-000-7

There is no drought of picture books about animal friends making a garden. The hook in this one is the message that when plans go awry, there may still be a rainbow at the end.

It is spring. Badger has dozens of jars of seeds that he saved from last summer to plant the “perfect garden.” His friends Red Squirrel, Weasel, and Dormouse help him by raking and clearing the ground, marking the rows with string, and making holes for the seeds. They celebrate their efforts with muffins and mulberry juice.

Over the next three days damp weather accelerates from showers to a heavy downpour, and Badger is unable to rescue his precious seeds from washing away. Badger tries to distract himself from his sorrow with chores and projects (and naps). Then one sunny summer day his friends rush in to tell him he has the perfect garden after all; the seeds just found new places to grow. The attractive, full-page illustrations show flair and gentle humor (Badger’s yoga practice will have readers chuckling). The animals are lightly anthropomorphic; all wear some sort of human garment or accessory, and the texture of the animal fur is beautifully realized.

While lacking the timelessness of Kadir Nelson’s If You Plant a Seed (2015) and the humor of Janet Stevens’ Tops and Bottoms (1995), the message of coping with unmet expectations and not giving up hope is worthwhile. (Picture book. 5-8)

A TWIN IS TO HUG

Ashburn, Boni Illus. by Nez, John Abrams (32 pp.) $14.99 | Apr. 9, 2019 978-1-4197-3158-7

A lighthearted, rhyming celebration of twins.

Expressive illustrations depict wide-eyed identical and fraternal twins in patterned clothes and with varying skin hues and |

types of hair. Ashburn, a mother of twins, uses bouncy rhymes to describe the relationships between these twins. Being a twin has built-in benefits: Two laps are just the right size for holding a book; there’s always a partner for games (and shenanigans!); and sometimes a gesture or look is all that’s needed to understand each other. But being a twin also has its disadvantages: Twins always have to share (especially birthdays and colds!), take turns, and wait. There’s plenty of comparing, competing, and debating, too. The author circles back, however, to the unique bond that twins possess. “A twin is to hug. Or to kiss! / Or to shove. // It’s all about balance. It’s all about love.” Preschoolers may not understand the metaphorical meaning of “balance,” but they’ll enjoy the visual of a seesaw with a mother on one side and twin boys balancing the other side together. One image, of black-haired, brown-skinned twin girls with flowers in their hair, resorts to stereotyping to indicate diversity, clothing them in grass skirts.

Although the book doesn’t cover new ground, the playful language and images will interest young readers who also face sibling ups and downs. (Picture book. 3-6)

B IS FOR BABY

Atinuke Illus. by Brooksbank, Angela Candlewick (40 pp.) $16.99 | Mar. 12, 2019 978-1-5362-0166-6 A circular tale of family love with visual rewards for sharp-eyed listeners.

In this story that looks like an alphabet book but focuses exclusively on the letter B, a smiling woman, probably mama, stands in a yard, holding Baby cheek-to-cheek, as another woman chats with four children under the awning of a small tinroofed house in the background. Many visual details hint at this book’s African (probably Nigerian) setting. After Mama Beads Baby’s hair, Brother loads a Basket of Bananas onto his Bicycle while bopping to the beat of what’s playing through his headphones, oblivious to everything else—especially the fact that Baby climbed into the Basket to have a Banana for Breakfast.

On the road, he passes a Baobab tree, Birds, a Butterfly, Baboons,

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ORANGE FOR THE SUNSETS

Athaide, Tina Katherine Tegen/HarperCollins (336 pp.) $16.99 | Apr. 2, 2019 978-0-06-279529-8 In 1972, the president of Uganda, Idi Amin, ordered the expulsion of the country’s “foreign Indians,” giving them 90 days to leave the country.

In alternating chapters, Athaide tells the story of best friends Asha, who is Indian, and Yesofu, who is African and whose mother is a servant in Asha’s home, as they navigate this xenophobic, nationalist chaos. Yesofu is influenced by Mamma’s words—“You and Asha are from different worlds,” she warns him—but Asha is determined to prove him wrong: “Black.

Brown. Indian. African. She’d...[s]how him these differences didn’t matter.” Yet when Asha sees Yesofu “cheering, waving, and hollering” at an anti-Indian rally, she is hurt and confused. When, shortly after, at school during a heated argument, Yesofu snarls at her, “Don’t [my family] deserve more than being your slaves—don’t I?” Asha is incredulous. As the novel progresses, however, Yesofu, too, has misgivings about this Ugandan nationalism and the possible loss of his dearest friend. Drawing on Athaide’s own childhood experiences as a Ugandan-born British-Indian whose family was affected by the expulsion, the story does not shy from the violence and death of the episode. The use of the alternating perspectives helps readers unfamiliar with the era understand both it and the feelings on both sides; an author’s note provides further context.

Though based in history, this novel is timely, addressing the human complexity of literal borders and figurative walls and lives that are irrevocably and heartbreakingly changed in crises. (bibliography, further resources) (Historical fiction. 9-13)

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a Bus brimming over with brown-skinned riders crossing a Bridge, and more sights—few of which Brother notices. Nothing, however, escapes the keen eyes of Baby. Only when Brother lifts the Bananas from the Bicycle rack does anyone discover the stowaway. A surprised Baba happily welcomes both grandchildren, who join him for Biscuits and bottles of something bubbly. Brooksbank effectively avoids stereotypes while adding humor and cultural specificity to the story with her detailed and lively, colorful, mixed-media images. Safety-conscious caregivers may suck their teeth, but there’s no denying the joy in this book.

Atinuke has bottled the delightful energy of the Anna Hibiscus books and poured it into this treat for younger readers. (Picture book. 3-6)

A FRIEND FOR HENRY

Bailey, Jenn Illus. by Song, Mika Chronicle (36 pp.) $16.99 | Feb. 26, 2019 978-1-4521-6791-6

A boy on the autism spectrum considers his classmates as possible friends.

“Henry was looking for a friend.” The plot is that simple and that complicated. Although it’s never specified in the text, Henry’s autism can be seen in his behaviors and thoughts. He stands straight and still as the multiracial class convenes, a steady pillar amid the bustle. Henry, who presents East Asian, describes the other children in a manner that gives insight to his point of view: One student is “a tangle of colors,” while another is “a thunderstorm.” Initially dismissed because she likes the “Big Slide,” brown-skinned Katie shares a moment with Henry over the fishbowl. They play together, and readers see Henry standing straight and steady once again but this time looking up with a smile of anticipation as he “waited at the bottom for his friend.” Ink-and-watercolor illustrations interpret Henry’s point of view well, giving context to his perspective.

Song’s style allows for small impressions and intentional gaps, like her rough hair textures and the outline of a fishbowl. It is in a state of becoming, like the burgeoning friendship.

Whether on the spectrum or not, friends don’t have to share everything, just enough, and this book sweetly provides. (Picture book. 3-8)

HOW TO CARE FOR YOUR T-REX

Baker, Ken Illus. by Coverly, Dave Christy Ottaviano/Henry Holt (36 pp.) $17.99 | Apr. 30, 2019 978-1-250-13751-7 “When you take good care of your T-Rex, your T-Rex will take good care of you.”

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Elaborating on a notion that has been popular since Bernard Most’s If the Dinosaurs Came Back (1978), Baker offers general guidance on how to keep a dino-pet (or many other sorts) fed, clean, and well-behaved. He mixes this with observations on how a huge, toothy theropod can be an awesome teammate in various sports and drools enough to create a terrific water slide, but it is definitely a messy eater (Coverly displays a fine gift for depicting goo and slop in showing what it does to a stack of pancakes and sausage pizzas) and, considering those short arms, maybe not so good at getting a kite out of a tree. In loosely drawn cartoon scenes the illustrator tucks an inconspicuously diverse cast of small human figures—the children excited, the grown-ups mildly dismayed—around a humongous green Tyrannosaurus rex that happily trashes a suburban neighborhood before it’s time to brush, floss, climb into dino-jammies, hear a bedtime story, and snuggle down into bed to a sweet lullaby from its blond, light-skinned young caretaker.

Dino-dumps aren’t the only topic left unaddressed, as this lively riff on a popular trope focuses more on the pleasures of having an outsized pet than its challenges.

A playful if incomplete twist on an ever popular theme. (additional facts) (Picture book. 5-8)

WHEN I FOUND GRANDMA

Balasubramaniam, Saumiya Illus. by Leng, Qin Groundwood (32 pp.) $17.95 | Mar. 5, 2019 978-1-77306-018-7

An assimilated child of the Indian diaspora finds herself culturally challenged when her grandmother visits her family in North America.

Maya misses her grandmother and wishes she would visit rather than sending her postcards from many miles away. A few weeks later, Maya has a special surprise waiting for her: Grandma has come to visit! But Maya’s excitement doesn’t last long. Maya prefers cupcakes to her grandmother’s homemade sweets; when her grandmother visits her school, she is embarrassed by Grandma’s sari and her loud voice; most of all, Maya does not like it when her Grandma calls her “Mayalakshmi.”

The narrative comes to a head when Maya loses sight of her family during a trip to an amusement park, and she and her grandmother find each other in more ways than one. Balasubramaniam’s honest first-person text and Leng’s soft line-andcolor illustrations—which deftly and sympathetically convey the intensity of Maya’s feelings—explore familial love and the intricacies of cross-cultural and intergenerational relationships between very young children and their grandparents. Maya and her family are Indian and celebrate Holi; they live in a vibrant, diverse urban setting. The use of English names (Grandma, Mother, Father) may strike children like Maya as odd, but it is inclusive of a broad range of children with South Asian heritage.

Sweet and honest. (Picture book. 4- 7)

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Bringing the beauty of and responsibility for nature to the city, this will win over readers with its parallel storytelling and appreciation for human- and nonhumankind alike. noah builds an ark

NOAH BUILDS AN ARK

Banks, Kate Illus. by Rocco, John Candlewick (40 pp.) $16.99 | Mar. 12, 2019 978-0-7636-7484-7

CHICKS RULE!

Bardhan-Quallen, Sudipta Illus. by Kurilla, Renée Abrams (40 pp.) $16.99 | Feb. 12, 2019 978-1-4197-3414-4 When a bespectacled yellow chick arrives, toy rocket under one wing, at the coop that houses the Rocket Club (“the coolest club in the galaxy”) to find a “No Chicks Allowed!!!” sign, it spawns a feathered revolution.

As she stalks past “Cool chicks and nerdy chicks / Quiet chicks and wordy chicks / Biker chicks and rocker chicks / Science chicks and soccer chicks” standing outside other clubhouse-coops with similarly unwelcoming signs, they begin to fall in line after her till she’s got a mammoth following. Dressed in all sorts of outfits that indicate their professions and interests and carrying placards (“NO MORE”; “Enough Is Enough”; “Give Chicks a Chance,” reads one held aloft by a hijabi chick), they arrive at a large white barn, where they are rebuffed |

CIRCLE

Barnett, Mac Illus. by Klassen, Jon Candlewick (48 pp.) $15.99 | Mar. 5, 2019 978-0-7636-9608-5 Series: Shape Trilogy Circle, Square, and Triangle play a game together with surprising results.

The three shapes are friends. Illustrator Klassen’s watercolor, graphite, and digitally created illustrations are evocative in their muted palette and spare presentation, the shapes drawn simply, with white, rounded-off oblongs for eyes whose black pupils move back and forth to show action and emotion. One day, Circle suggests a game of hide-and-seek and tells her friends not to hide behind the waterfall, because it is dark.

When Circle finishes counting, Square has not moved; he tells Circle, “Triangle went behind the waterfall.” Circle goes to find him, and as she delves deeper, the double-page spreads darken to solid black until only Circle’s white oblong eyes are shown.

She sees one set of eyes and begins to upbraid Triangle—and then a third set. Turns out that is the set that belongs to Triangle, and when the two realize they don’t know the other, they rush away in a fright. Safely back in the open, Circle wonders what shape was in the dark and, reflecting on her fear, realizes that the shape wasn’t necessarily “bad” just because she couldn’t see it. While the implied message of the story is a vital one in this xenophobic age and its subtle delivery and imagery encourage further exploration, the story’s final page veers off, asking readers to picture a shape rather than delivering a conclusion.

Worthy and allusive but with a possibly frustratingly oblique ending. (Picture book. 4-8)

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Noah receives a lesson on surviving storms from his family and uses it to give safe passage to the denizens of the family’s backyard.

Salamanders, toads, snakes, hummingbirds, butterflies, field mice, and grasshoppers can all be found in little Noah’s backyard garden. Noah spies the dark clouds hovering over the cityscape as his father declares, “It’s going to be a beauty.”

Rather than depict heavy rainstorms as ominous and menacing, Banks and Rocco instead instill the message that the proper preparations can ensure a family’s safety. That logic extends to the backyard. As Noah’s father boards up the windows of their row house, Noah capably repurposes his broken-down wagon into an ark. As Noah’s mother and sister stack groceries and fill water jugs, Noah prepares food for the ark’s creatures. When the rain finally arrives, the family is soothed enough to enjoy board games and share stories by candlelight. Inside the ark, the creatures imaginatively begin to take advantage of one another’s intimate company as well. When the storm finally settles, the creatures exit, two by two of course, back to the tiny, thriving ecosystem of the family’s fenced-in slice of earth. Rocco’s meticulous paintings depict a brown-skinned family carefully preparing for the weather; the animals are not directly anthropomorphized, but compositions give a cozy sense of community.

Bringing the beauty of and responsibility for nature to the city, this will win over readers with its parallel storytelling and appreciation for human- and nonhumankind alike. (Picture book. 4-9)

again. “But chicks are strong and chicks are smart,” and working together they build a real rocket that proves that “Chicks can conquer anything!” Appropriately for her theme, BardhanQuallen’s rhyming text has the rhythmic quality of a chant.

Kurilla supplies paneled pictures of stubby little chicks of many colors, all frowning adorably with determination. Of course, for the joke to work, caregivers will have to explain to young readers that “chick” is a sexist term for “woman,” which takes some of the air out of it. Nevertheless, there’s no questioning its energy.

I am woman, hear me peep. (Picture book. 3-6)

LOVE YOU HEAD TO TOE

Barron, Ashley Illus. by the author Owlkids Books (32 pp.) $16.95 | Mar. 15, 2019 978-1-77147-304-0

Children’s movements and activities are compared with animals’ as seen through a caregiver’s eyes. kirkus.com

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A story with massive heart, Benjamin’s follow-up to The Thing About Jellyfish (2015) proves this writer’s incredible wit, charm, and ability to navigate deep questions while tapping directly into the middle school mindset. the next great paulie fink

Barron’s paper-collage illustrations depict the motion of an animal alongside a child who moves, plays, or wiggles in the same way. Four-line rhyming stanzas accompany each two-page spread, with the animal and the text against a white background on the left and a full-color illustration of the child on the right.

The action of each layout is a true match between animal and child; a baby crawls through the sand as a turtle drags itself to the sea, for instance. It is refreshing to see a smiling black baby on the cover as well as a nicely diverse cast of children and caregivers within. Barron’s collages are gorgeous. A particular standout, of a father and baby bundled up in the snow opposite a pair of emperor penguins, conveys depth and texture. Each piece of each illustration has a specific place and purpose. The text, however, falls short of the illustrations. Some stanzas have a nice rhythm and rhyme, while others read awkwardly, padded with animal sounds that seem to have been inserted as filler for lack of words to fit rhyme and scansion: “You’re just like a duckling, / Riding on my back. / Splishing and splashing around the pool, / Quack, quack, quack, quack, quack!”

This one is worth it just for the illustrations even if the text falls behind. (Picture book. 2-4)

THE TRAGICAL TALE OF BIRDIE BLOOM

Beltz, Temre Harper/HarperCollins (368 pp.) $16.99 | Mar. 26, 2019 978-0-06-283583-3 Here’s a book about orphans that will make people feel guilty for reading it.

In one of the most meta twists of all time, this story is narrated by the actual book, as in: “It is a pleasure to meet you.

Truly. Life as a book is not as easy as one might think.” Readers will feel even worse than usual if they spill their drinks on the footnote-festooned pages or dog-ear the corners. But the story has plenty of other meta touches. All the orphans have read stories about orphans and expect to come to a tragic end. In fact, it’s required by law. They’re forced to sign Tragical Oaths, such as, “When faced with a fatal threat, I will not fight back or retreat under any circumstances.” Every character in the novel is, by definition, cartoonish. (The witches even have purple or slime-green hair.) Even book-loving orphan Birdie is a bit cartoonish. Under those circumstances, it’s difficult for a character to be outrageous or over-the-top, but the narrator achieves it simply by talking nonstop, even when it interrupts the story.

Many readers will find this distracting, and they may skip pages to get back to the characters’ exploits. The cover art suggests that Birdie is white, and the book adheres to the white default.

This book may feel postmodern, but at its heart, there’s an old-fashioned, gripping adventure story. It’s a shame that it’s so difficult to find it. (Fantasy. 8-12)

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THE NEXT GREAT PAULIE FINK

Benjamin, Ali Little, Brown (384 pp.) $16.99 | Apr. 16, 2019 978-0-316-38088-1

Starting at a new middle school can be a horrifying experience for anyone.

Seventh-grader Caitlyn finds it harder than she ever imagined. For one thing, she’s expected to help take care of the goats—and the kindergartners. Plus, none of her new classmates appear to play by the same social rules as her old middle school.

Instead of trying to be cool, everyone at Mitchell stands out, and they do it on purpose. Even a kid who’s no longer there stands out. When Paulie Fink, legendary for his pranks, doesn’t return for seventh grade, his old classmates miss him so much they decide to hold a contest to name the next great Paulie Fink.

Caitlyn, as the most objective person in the class, serves as organizer, judge, and jury. But by the time the next great Paulie Fink is named, Caitlyn understands that it’s far more than one person they’re trying to save. A story with massive heart, Benjamin’s follow-up to The Thing About Jellyfish (2015) proves this writer’s incredible wit, charm, and ability to navigate deep questions while tapping directly into the middle school mindset.

The novel is rare for the ease with which it combines ancient Greek studies with modern-day issues such as bullying and change, helped along by a delightful multiracial cast. Diversity is communicated mostly via naming convention; Caitlyn seems to be default white.

A book to make readers think, question, reach, laugh, and strive harder. (Fiction. 9-14)

WILDHEART The Daring Adventures of John Muir

Bertagna, Julie Illus. by Goldsmith, William Yosemite Conservancy (128 pp.) $17.99 | Mar. 19, 2019 978-1-930238-94-7

In graphic-novel style, this supposed autobiography reveals details of John

Muir’s life.

The table of contents lists nine chapters, intriguingly titled.

The light tone continues on the next two pages, showing four loose-limbed, comical figures under the heading “Key Characters.” Three of these characters are John: “as a child...a young man...an old man”; the fourth, a dog, bears the label “Stickeen.”

(More characters do follow.) As John tells his story, the text cleverly intersperses brief quotations from his own writings with phrases that he and the people in his life might reasonably have said. During early childhood in Dunbar, Scotland, the wee lad already relishes the natural world and hates studying indoors. |

The format accentuates the reactions of John’s schoolmaster and his father, as they “THWOP” and “THWACK” John’s curly head. When he moves to the United States, Muir’s passion for nature accelerates, eventually leading to a “thousand-mile walk” from Indiana to Florida. He assumes the roles of inventor, husband, father, farmer, explorer—and always conservationist, eventually establishing the Sierra Club and lobbying for the first national parks. The art works well for some scenes, such as a harrowing, near-death experience in Alaska. However, it is a major disappointment that Muir’s descriptions of overwhelming natural beauty are illustrated with the same comical style and that readers must peruse closing notes to learn which words are Muir’s and which are Bertagna’s.

Readers are treated to Muir’s life journey—but, artwise, nothing resembles the source of his inspiration. (chronology, glossary, note on parks) (Historical fiction. 8-12)

SOAR HIGH, DRAGONFLY

A circular account of a dragonfly’s life span told simultaneously as a narrative and a collection of scientific facts.

The creative duo behind Good Trick, Walking Stick (2016) returns to the insect world. Readers follow the life cycle of a green darner dragonfly, from its mother laying eggs to fertilizing its own before leaving to “find warmer days” elsewhere. The primary text, set in a relatively large font, relates the development of a particular dragonfly in a preschool-friendly manner with simple sentences, sound effects, and a rhythmic refrain—“Oh my, a baby dragonfly!”—that varies the first few syllables with each repetition. Supplementary text is in smaller, multicolored type and gives a factual description of the species, complete with vocabulary definitions and fourth wall–breaking questions to encourage inquisitive thought: “Do you think that the nymph looks like a dragonfly?” Blocks of this text are tucked into the corners of spreads, so younger readers can choose to skim them over while older or inquisitive readers can learn more about the natural world. Unfortunately, there is no informative backmatter to further help them on their way. Lambert places marbled colors à la Eric Carle against a plain, mostly white background.

The result is a rich vibrancy that makes the book and its insect protagonist delightfully attractive.

Dynamic colors and textual versatility make for a quality nonfiction read. (Informational picture book. 5-8)

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Pig loves things that stink...including himself.

“Pig liked to get dirty. / He frankly was RANK. / His paws could be frightful. / His fur often stank.” Pig rolls in garbage and spoiled milk; he even plays with poo! He’s not offended by smells—not even by his wiener-dog buddy’s butt! Calls for bathtime make him run, and he’s very good at escaping, evading, and hiding. He sneaks away and jams a rubber-bone toy up the bathtub spigot. Then, being the nasty scamp that he is, he boogies with glee right in the tub, taunting his owner—until the plumbing explodes, bonking him in the nose with the faucet. From then on he doesn’t balk at bathtime...but that doesn’t change the fact that he often stinks to high heaven. Pig returns from his native Australia (where the book was titled Pig the Grub) to teach another lesson by setting a bad example. Blabey’s gleefully rancid creation scampers across the pages covered in (and liberally spreading) green and brown goo, and his pong is as visible as his owner’s face is not. With his bulging eyes and general nastiness, Pig is definitely an acquired taste; that this is his fifth outing is ample proof that many have done so.

Those who have enjoyed Pig’s other adventures in badness will likely love this one, and the obviously frequent mentions of things potty-related will recruit new fans.

(Picture book. 3- 7)

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Bestor, Sheri M. Illus. by Lambert, Jonny Sleeping Bear Press (32 pp.) $16.99 | Mar. 15, 2019 978-1-58536-410-7

PIG THE STINKER

Blabey, Aaron Illus. by the author Scholastic (32 pp.) $14.99 | Apr. 30, 2019 978-1-338-33754-9 Series: Pig the Pug

THE MIGHTY HEART OF SUNNY ST. JAMES

Blake, Ashley Herring Little, Brown (384 pp.) $16.99 | Mar. 26, 2019 978-0-316-51553-5

Sunny St. James has just had a heart transplant and is ready to take three crucial steps into her New Life.

Step No. 1: Do “awesome amazing things” her cardiomyopathy kept her from doing. Step No. 2: “Find a new best friend” to replace Margot, who betrayed her trust. Step No. 3: “Find a boy” to kiss, “because kisses.” Sunny achieves the first two steps almost simultaneously: She goes swimming in the ocean for the first time since her diagnosis and she meets blue-haired Quinn Ríos Rivera, and the two agree to be best friends. The third proves to be difficult, because Sunny finds she doesn’t want to kiss a boy.

She wants to kiss Quinn. Sunny’s struggles are numerous but well-balanced and never overwhelm readers. The 12-year-old’s mother, Lena, who gave Sunny to her best friend, Kate, to raise eight years ago, is ready to be part of Sunny’s life. Sunny isn’t kirkus.com

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sure she wants to know Lena, a recovering alcoholic. She’s also uncertain as to which feelings are hers and which ones belong to her unknown heart donor, but her thoughtful, present-tense voice as she parses these feelings is all hers. Quinn is Puerto Rican; Kate’s boyfriend is black; and Lena’s husband is South Asian. Assume whiteness for everyone else.

A sweet and gentle story of self-discovery and a beautiful addition to the growing genre of middle-grade realism featuring girls who like girls. (Fiction. 8-13)

THE MONSTER CATCHERS

Brewington, George Illus. by Miles, David Henry Holt (288 pp.) $16.99 | Mar. 5, 2019 978-1-250-16578-7 Series: Bailey Buckleby, 1

Twelve-year-old Bailey Buckleby is a monster hunter, but unlike his father, who sells them for profit, Bailey seeks to understand them.

When he is not in seventh grade or texting his maybe soon-to-be girlfriend, Savannah, Bailey can be found staffing the counter at Buckleby and Son’s Very Strange Souvenirs. In addition to the usual saltwater taffy, snow globes, and tacky T-shirts, the Bucklebys stock fairies, a harpy, hoop snakes, and what Bailey’s father claims is a Swiss Troll. But during a routine extermination job, Bailey and his father encounter Axel Pazuzu, a dangerous, dog-headed adversary who is determined to take down Buckleby and Son’s and steal the troll for himself. While Bailey and his father share the same rusty hair and bright green eyes, their approaches to life are nothing alike. Bailey wants to communicate with the monsters and help them return to their homes, but his father is determined to keep them in cages. Bailey is brave and intelligent, and Savannah is a girl to be reckoned with, but they seem unreasonably levelheaded and adept even when battling 3,000-year-old monsters, which depresses tension significantly. Wacky humor and an unusual cast of characters keep the pages turning anyway, but a lackluster story and a flat ending may prove disappointing. The human characters present white.

Monsters and mayhem—but unfortunately mundane.

(Fantasy. 8-12)

CLACKETY TRACK Poems About Trains

Brown, Skila Illus. by Christoph, Jamey Candlewick (32 pp.) $16.99 | Mar. 12, 2019 978-0-7636-9047-2

It’s no mean feat to conjure up an original train book for kids, but, by gum, Brown and Christoph manage it. With both old favorites (freight, steam, bullet) and some new eclectic additions (zoo train, whistle-stop tour, shoulder ballast cleaner), young train enthusiasts will have plenty here to whistle at. Thirteen poems touch on a wide range of train travel and experiences. From the quiet of the early morning train yards through the power of a train snowplow to the comfort of a sleeper car, each poem is worked in a different form of verse, paired to the type of train that fits it best. There’s certainly some sophisticated wordplay at work here, as in “Electric Train”: “Power from the wire. / Pantograph required. / Cabled Line of Fire. / Tethered Train Flyer.” Don’t know the word “pantograph”? The “Train Facts” tucked in at the back of the book offer further information that is bound to be adored by expository-nonfiction readers. Digital art reveals a multiracial array of train enthusiasts, in both historical and present-day views. The overall package is a beautiful gift for locomotive lovers.

A book unafraid to go on beyond choo-choo. (Picture book/poetry. 4- 7)

LITTLE YELLOW TRUCK

Bunting, Eve Illus. by Zimmer, Kevin Sleeping Bear Press (32 pp.) $16.99 | Mar. 15, 2019 978-1-58536-407-7

A little yellow truck wrestles with feelings of inadequacy.

When lumberyard owner Riley informs his crew of trucks that he’s purchased some land to turn into a playground, Little Yellow is thrilled. Yet all the other trucks get the big jobs, like hauling the trash, pouring the concrete, and delivering the equipment, and it seems there’s nothing left for a small pickup to do. Fortunately Riley’s got a job for him, and it’s just right for a little guy. While the book attempts to connect with child readers by appealing to their sympathy with a character’s disappointment, little artistry accompanies the writing. Bunting takes a glancing pass at spiffing up the text with copious sound effects of trucks at work (“Bang, clang, smack, whack”) and descriptions of the “lumpy, bumpy, clumpy land,” but the tale itself does little to engage readers beyond the presence of the trucks themselves. Additionally, the simplified computer art and cartoony anthropomorphized vehicles do the book no favors. Human characters are depicted in a wide range of ethnicities and abilities (Riley is white), but while it is good to include a kid who uses a wheelchair, it is impossible not to notice that none of the playground equipment is made to be accessible to that child.

A honk and a miss. (Picture book. 3-6)

A poetry book for the early-elementary train lover looking for some clever verbiage to complement the cabooses.

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Technical terms such as “yoke” and “landing gear” help youngsters understand the mechanics of a flight in addition to the scenes of a typical airport visit. fly

FLY

Clement, Nathan Illus. by the author Boyds Mills (32 pp.) $16.95 | Apr. 16, 2019 978-1-62979-937-7

THERE WAS AN OLD ASTRONAUT WHO SWALLOWED THE MOON!

Colandro, Lucille Illus. by Lee, Jared D. Cartwheel/Scholastic (64 pp.) $8.99 | Apr. 30, 2019 978-1-338-32507-2

Ever ready to extend her culinary experience, the old lady of song turns to

astrophagy.

Colandro’s 17th (and counting) riff on the classic cumulative rhyme sends the space-suited elder into space to swallow the moon (“It happened at noon at noon”). She then goes on in no obviously logical fashion to chow down on a star, a planet, a comet, a meteoroid, a rocket (“It was next on the docket”), and a satellite—before settling at last, in Lee’s frenetically stippled climactic scene, amid a diverse group of awestruck children beneath a gloriously crowded planetarium “sky.” In between verses two young and generally earthbound observers, one a child of color and the other white, step in to supply basic astrofacts (“That meteoroid made a loud sound!” observes one; the other explains, “It’s a meteorite when it hits the ground”) that are extended, at least a little, in a set of closing notes. And a |

A FRIEND LIKE IGGY

Cole, Kathryn Photos by Richards, Ian Second Story Press (32 pp.) $18.95 | Apr. 15, 2019 978-1-77260-084-1 This Canadian import focuses on Iggy, a therapy dog who assists children in a program in Toronto as they participate in investigations of child abuse.

Iggy is a black Lab with soulful, brown eyes and a gentle demeanor. He is called a “facility dog” at the social services program where he works. The dog and his handler meet with children who are victims of child abuse, accompanying the children when they testify in court or when they meet with police officers or doctors. The sensitively written text does not specifically address instances of abuse but instead refers to children speaking about “what happened to you” and the difficulty of testifying in court near “the person I didn’t want to see or talk in front of.” While Iggy is a real dog, the children in the photographs illustrating the story are models portraying the victims of child abuse. The children are of different ethnicities and range in age from preschool to high school age. The first-person text is rather confusing at first, as it is written as though one specific child is the narrator.

However, the illustrations show many different children as the story progresses, with each one contributing to the narrative.

While this effort is a thoughtful and well-meaning introduction to the use of therapy dogs for children in this situation, it’s probably best suited to specific use in programs similar to Iggy’s. (author’s note) (Informational picture book. 4-10)

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From takeoff to landing, a look behind the scenes of a commercial flight.

A family begins their journey with boarding passes in hand. The perspective then zooms back to reveal the ground crew. Bags are loaded, “the tug pushes the plane away from the gate,” and the control tower gives the all clear. As the pilot lifts the plane off the runway, readers visit the family once again in flight. After a quick few pages showing food-service carts and the myriad ways folks entertain themselves in the air, the focus shifts swiftly back toward everyone who helps the plane land smoothly. Technical terms such as “yoke” and “landing gear” help youngsters understand the mechanics of a flight (and are further defined in a closing glossary) in addition to the scenes of a typical airport visit. Clement’s crisp, clean digital images and bold angle placements resemble of those of another transportation connoisseur, Donald Crews. The focal family is interracial, with an East Asian mom and white dad; the pilot is a white woman, and her co-pilot is a man of color. A wriggling, furry passenger that has been hiding in the daughter’s bag the entire flight gives readers a sweet surprise ending.

It’s not the only first introduction to flight to be found, but it’s an intriguing choice for the more technically minded. (Picture book. 4-8)

search-and-find game at the end invites emergent stargazers to go back in search of various objects hidden in the cartoon starscapes. The titular old astronaut will be instantly recognizable to fans of the series as the bespectacled, white-bunned, lantern-jawed white protagonist they’ve come to know.

The archetype’s patterns are just visible enough to boost this light payload of silliness and STEM-ware into orbit. (Informational picture book. 6-8)

A STORM OF STRAWBERRIES

Cotterill, Jo Little Bee (240 pp.) $16.99 | Mar. 5, 2019 978-1-4998-0838-4

A 12-year-old English girl with Down syndrome copes with drama in her tightknit family over a stormy Easter.

Darby loves her mother and her stepbrother, Olly, and her stepdad. She loves the strawberry farm where she lives. She loves music and paint by numbers. But more than anything else, she adores her 16-year-old sister, Kaydee. Darby’s jealous of her kirkus.com

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Rocha’s colors and characters leap right off the page, encouraging readers to get out into the world and create life, beauty, and some great-tasting lemonade (recipe included). when grandma gives you a lemon tree

sister’s attention, so she is anything but pleased when Kaydee’s best friend, Lissa, comes for the weekend. At least this weekend will feature one of Darby’s favorite events, when she and her family find chocolate eggs in the yard. But with high winds spawning tornadoes and threatening their greenhouses, her parents are distracted and miserable. When Darby sees Kaydee and Lissa kissing and then tells Olly what she’s seen, he gets weird.

Darby’s point of view as a cognitively disabled protagonist is a welcome one, though the execution is flawed; in one scene she describes dialogue she explicitly tells readers she was unable to hear. Moreover, though Darby’s a whole and interesting person, by the conclusion she’s been diminished to a tired trope of Down syndrome innocence, healing all wounds through pure insights about love. “Oh, Darby....What would we do without you, eh?” her dad asks whenever the childlike innocence of her Down syndrome causes a shift in his perspective.

Well-meaning, but for a more genuine cognitively disabled protagonist, pair with Sharon Flake’s Pinned (2012).

(Fiction. 9-12)

SAVE THE CAKE! Long Vowel A

Coxe, Molly Illus. by the author Kane Press (40 pp.) $27.99 PLB | Apr. 1, 2019 Series: Bright Owl Books 978-1-63592-097-0 “Kate and Nate bake a cake for Grandpa Jake.”

Kate and Nate are snails, three-dimensional characters crafted out of wool and adorned with real shells on their backs.

When they see a fabric snake, they are very scared and try to evade him with one of the modes of transportation available— trains, planes, and boats. (Little do they know that he is Grandpa Jake’s “great mate.”) A real wooded area serves as backdrop; it almost seems as if the photos are movie stills, but the scenes have been specifically constructed for this volume, one of a growing series with one simple aim: to teach phonics by introducing one sound at a time. This volume introduces the long “a” with commonplace words like “place,” “plate,” “sail,” and “trail.” The pictures are intriguing and use many different kinds of materials and objects, including a real lit candle atop the cake, a toy wooden rolling pin, and a graceful toy boat with a beautiful sail with a very handsome snail design. Young readers will pore over the pages, perhaps trying to figure out how they might create such scenes.

In the meantime, they will probably absorb the lesson and learn some decoding skills. Two story-starter ideas round out the volume. Four other titles publish simultaneously: Blues for Unicorn, Go Home, Goat, Greedy Beetle, and Lion Spies a Tiger.

It’s much better than a phonics worksheet, but it’s a shame these photos serve such dull storytelling. (Early reader. 4-6) (Blues for Unicorn: 978-1-63592-109-0; Go Home, Goat: 978-1-63592-100-7; Greedy Beetle: 978-1-63592-103-8; Lion Spies a Tiger: 978-1-63592-106-9) 86

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THROUGH THE ELEPHANT’S DOOR

De Blois, Hélène Illus. by Cormier, France Trans. by Watson, Sophie B. Orca (48 pp.) $19.95 | Apr. 2, 2019 978-1-4598-2193-4

Will the officious, sneering guard at the art museum eventually banish a boy and his elephant friend, Émile?

As soon as the boy and his pachyderm pal enter the museum, the guard greets them with, “Not so fast, sweetie pie!” After grilling them on the rules, he follows the pair through gallery after gallery, constantly bullying and berating the sensitive elephant.

The bespectacled, large-headed boy narrator exhibits behavior that will resonate with readers. Each time the guard insults Émile, the boy is politely acquiescent. After the guard has left the room, the boy lists all the rebuttals he wishes he had made. (Cleverly, these include interesting facts about elephants’ ears and trunks.)

The underlying, serious message is well-balanced by the humorous premise and continued humor in art and text. There is also a fundamental introduction to art appreciation. Young readers will particularly enjoy the semidark pages in which two criminals think Émile is an exhibit. One sentence of narration feels a bit off: The boy asserts that the guard should know he and Émile will be careful, since they are not “gorillas.” It’s more of the text’s absurdity, to be sure, but it may subvert the message. All characters (except the blue-gray elephant) present as white. The text and illustrations have the air of a sophisticated picture book; the trim makes it look like a novel.

This quirky French-Canadian import stands out— rather like an elephant at an art museum. (Fiction. 6-8)

WHEN GRANDMA GIVES YOU A LEMON TREE

Deenihan, Jamie L.B. Illus. by Rocha, Lorraine Sterling (32 pp.) $16.95 | Mar. 5, 2019 978-1-4549-2381-7

Gardening tips abound in this delightful guide to caring for a lemon tree.

The unnamed protagonist has a carefully drawn-out list of acceptable electronics she wants for her birthday. But Grandma instead brings...gasp...a lemon tree. The second-person text covers appropriate and inappropriate reactions and then advises readers to accept the potted present politely and wait for Grandma to leave or take a nap. Then you definitely shouldn’t: drop it from a bridge, send it aloft with balloons, or “play ding dong ditch” with it (all illustrated with wry understatement). Instead, the narrator offers some incredibly important do’s: put the fruit tree “in a sunny spot” (the grassy verge between sidewalk and street), don’t overwater it, |

and “battle against intruders” who seem to come from all directions. After nearly a year of caring for her reluctantly received sapling, the protagonist joyously picks her lush lemons, and Grandma even returns to help make some fresh lemonade, the sale of which leads to more plants for her burgeoning garden. Rocha’s colors and characters leap right off the page, encouraging readers to get out into the world and create life, beauty, and some great-tasting lemonade (recipe included). The community is diverse and urban, with no lack of personality and detail. The protagonist and Grandma are both black, she with black pigtail puffs and Grandma with a white poof of hair.

Charms from cover to cover. (Fiction. 3- 7)

JUST READ!

Degman, Lori Illus. by Tentler-Krylov, Victoria Sterling (32 pp.) $16.95 | Mar. 5, 2019 978-1-4549-2572-9

SPACE ALIEN…ALMOST?

Desjardins, India Adapt. by Véronique Grisseaux Illus. by Aynié, Laëtitia Papercutz (96 pp.) $14.99 | $9.99 paper | Feb. 19, 2019 978-1-5458-0215-1 978-1-5458-0214-4 paper Series: Amy’s Diary, 1 While her teen angst is universal, diarist Amy feels like she is from another world. |

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Apparently, there are many ways to read.

Degman’s first-person text opens with an exultant declaration—“HOORAY! I know how to read on my own!”—but an accompanying, vibrant illustration doesn’t indicate which of the seven diverse children in a book-filled room is the speaker. This question isn’t resolved as the narrative proceeds, “But sometimes I don’t want to do it alone. So... / I read with an astronaut, pirate, or farmer. I read with a clown or a knight wearing armor.” It’s rather confusing that the depicted reading children are reading alone while imagining the astronaut, pirate, farmer, clown, and knight floating above them. Tentler-Krylov’s splashy, stylish, bright watercolors show children reading different sorts of texts in various contexts—road signs, maps, magazines, sheet music, and Braille books. The spread depicting Braille reads, “I read with my fingers across bumpy lines”; across the gutter one child signs to another: “I read with my voice or my hands using signs.” This last line seems a bit off as it positions oral and signed language as texts to be read, but the aim is clearly inclusive. The book culminates in an idyllic scene of children reading in a tree that begs to become a literacy campaign poster. As with many books about reading, it’s not much of a story, but it does mean well.

A read that affirms reading. (Picture book. 4- 7)

Fourteen-year-old Amy, who has a generous smattering of freckles and sprightly ginger hair, dutifully records many familiar teen trials and tribulations: crushes, unrelenting embarrassment, and social squabbles. Her best friend, Kat, dithers between ignoring her for a boy and demanding Amy’s full attention when her relationship falters. Amy is in a tenuous relationship with Nick, a cute skater boy with whom she likes to kiss but finds herself tongue-tied when they actually talk. Her father died five years ago; now Amy struggles less with grief and more with her mother’s beginning to date. While Amy’s problems may seem familiar, they are never explored with any real depth.

Throughout her narrative, there is little personal growth; the only things that change with any regularity are her sartorial selections. Every time Amy finds herself in a difficult situation, she runs from it, wearing thin any awkward charm. Even her space-alien feelings seem flimsy and perfunctory. Told in a diary format alongside full-color comic panels, this graphic novel was originally published in French in 2015 as an adaptation of a novel published nearly a decade earlier; this version contains scenes that read off these days, such as an unfunny joke about hamster rape and an unnecessarily awkward moment surrounding a dropped tampon. Amy’s world seems to be a white, middle-class one.

Surely there are more nuanced female characters than this. (Graphic fiction. 10-13)

DAZZLING TRAVIS A Story About Being Confident & Original

Dias, Hannah Carmona Illus. by Figueroa, Brenda Cardinal Rule Press (32 pp.) $16.95 | $10.95 paper | Apr. 1, 2019 978-0-9976085-6-4 978-0-9976085-7-1 paper

A rhyming story about being yourself.

Travis likes basketball, dress-up, and ballet. In wooden, unnecessary rhymes, he comes across bullies, both boys and girls: “Sometimes my classmates, / When on the playground / Like staring and judging / And cutting me down.” Confident Travis stands up to his gender-policing peers, declaring “I am who I am! / There’s no boy and girl line. / In sports or in dressup, / I’ll sparkle and shine. // The toys that we play with, / Or clothes that we wear, / express who we are / And our natural flair.” Illustrations directly mirror the text in blocky, flat graphics. The hammer-headed message, that kids should express themselves regardless of gender stereotypes, is fine. Excruciating verse, with rhymes both wrenched and forced, detracts significantly from the already-uninspired story. At one point Travis, a black child with short, natural hair, confusingly says “I swish back my hair”; in the backmatter readers learn that the author was inspired by a former student, a white boy with much more swishable hair. The haphazard selection of other inspirations includes Coco Chanel and Langston Hughes. “Just like Travis, these people struggled against the opinions of others, but they kirkus.com

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persevered and soon dazzled in their own ways,” an anodyne way to refer to misogyny, racism, and homophobia.

Gender and stereotyping are popular themes for picture books; readers are blessed with the opportunity to choose almost any other. (Picture book. 3-6)

ANGRY COOKIE

Dockrill, Laura Illus. by Karipidou, Maria Walker US/Candlewick (40 pp.) $16.99 | Mar. 12, 2019 978-1-5362-0544-2 A baked good goes through a whole emotional experience in this fourth wall– busting picture book.

“Oooohhh, not you again!” gripes a redheaded, buck-toothed chocolate-chip cookie. “Close this book this very second, you nosy noodle!” And so it goes, as the cookie does its best to keep you, the reader, from proceeding. After a premature “The end,” the cookie tries to get you to close the book, but of course persistent readers keep going. The cookie vents about its day, with trials and tribulations familiar to a young audience: no more strawberry toothpaste, an annoying friend, a bad haircut, and an ice cream shop that’s run out of its favorite sundae.

But toward the end the cookie realizes “why I’m so angry at the whole world. Because nobody listens to me. Nobody sticks around.” But in fact the reader is still there, turning the cookie’s mood around, showing that listening is an important way to support a friend having a bad day. Energetic, expressive, childlike art (with one shot of a gratuitous, giggle-inducing cookie butt) pairs well with the goofy-but-sincere plot, and it’s sure to keep young audiences engaged. A host of other anthropomorphized foods and plants, including Barbra the recorder-playing cactus and a carrot that yells “Look at that cookie wearing the too-small hat,” helps fill out the scenes.

An entertaining approach to helping children work through their emotions. (Picture book. 4- 7)

PIRATES IN CLASS 3

Donald, Alison Illus. by Whitehouse, Ben Maverick Publishing (32 pp.) $17.99 | Mar. 5, 2019 978-1-84886-360-6 A clever lad leads his classmates and a pirate who crawls in through the window to troves of hidden treasure.

Heaps of gold coins do make a shiny stand-in for the “treasures” more likely to be found in a classroom, but a yarn in which the good guy is signaled by a false disability and the bad guy by a real one belongs in Davy Jones’ locker. Taking advantage of teacher Ms. Bitsy’s momentary absence, Capt. Calamity—dressed with proper swash and buckle in the cartoon 88

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illustrations but only holding the requisite hook in his hand— arrives in search of a treasure in the classroom buried, he’s been told, “under the sea.” Fruitless ransacking ensues until at last young Alex, contemplating the alphabet pinned to the wall, realizes that the clue is actually “under the C.” Indeed, pulling a lever beneath the letter opens a watery gulf under the floorboards, where the children (and their equally enthusiastic teacher) find a chest of gold coins. Better yet, after Ms. Bitsy sternly sends off bullying rival Pirate Bloodloss, a menacing figure with an actual peg leg, by threatening to tell his parents (“Argh! Not Mommy,” he whimpers), Alex has a further golden alphabetical insight: “X always marks the spot!” If nothing else, the captain “hooks” Ms. Bitsy, who’s simpering, “Call me Daphne” by the final scene. Alex and the grown-ups are white, but Whitehouse depicts the rest of the class with a mix of light and dark skin.

A lubberly outing, stereotypewise. (Picture book. 5- 7)

OTTO AND PIO

Dubuc, Marianne Illus. by the author Princeton Architectual Press (68 pp.) $17.95 | Mar. 19, 2019 978-1-61689-760-4 In this French-Canadian import, when a mysterious pod appears on the branch outside his home, a squirrel must decide the limits of his responsibility for

the creature within.

At first, Otto steps over the sphere. Even when it hatches and a white fur ball calls him “Mommy,” the homeowner rushes inside: “Otto wasn’t curious, but he was cautious.” Eventually relenting, he offers the baby a spot in his hammock. Each day, the critter grows at an alarming rate, eating hazelnuts, occupying more sleeping space, and inadvertently breaking furniture.

All the while, the bushy-tailed protagonist searches for the mother, to no avail. Conflicted, but cramped, Otto stomps off, ignoring his own advice to be watchful of the eagle. In the nick of time, he is rescued from menacing talons, and Otto decides that renovations to expand his property are in order. Convincing dialogue provides the emotional arc, while Dubuc’s pencil-and-watercolor scenes depict the cozy woodland life that animal lovers fantasize about. Close-ups reveal curtains at the home’s window and a lantern illuminating the entrance; Pio, as the creature calls himself, prepares a soothing vegetable stew and strings colorful yard decorations to please his hardworking host. Longer views show the bulk of the tree and the starlit sky beyond.

The pacing and feelings ring true in this heartwarming depiction of someone accustomed to being the center of his universe but who responds to the impulse of hospitality and friendship. (Picture book. 4- 7)

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YOU ARE YOUR STRONG

Dufayet, Danielle Illus. by Zivoin, Jennifer Magination/American Psychological Association (32 pp.) $17.99 | Mar. 19, 2019 978-1-4338-2939-0

PAULA KNOWS WHAT TO DO

Dufft, Sanne Illus. by the author Pajama Press (32 pp.) $18.95 | Mar. 29, 2019 978-1-77278-068-0

When a young girl’s father is too sad to get out of bed, she paints him a picture and the two go on an imaginary

adventure together.

It’s Saturday morning, and Paula is waiting for her father to make hot chocolate and coffee, but she doesn’t hear him moving around the house. When she discovers he’s still in bed, she asks if he’s still sad about Mommy and then says, “I miss her too.” Paula decides that, to get cheered up, her father needs to go sailing, and so she paints a picture of a sailboat and coaxes him into an imaginary adventure. Author/illustrator Dufft’s watercolor illustrations skillfully combine an assured, realistic watercolor style to portray Paula and her father, with a rudimentary childlike stroke to visually highlight the imaginative adventure. Light and shadow are used to great effect to convey mood—the father’s bedroom is portrayed as a dim room of grayed color that brightens by story’s end. While the final page |

BABY ANIMALS WITH THEIR FAMILIES

Eszterhas, Suzi Photos by the author Owlkids Books (24 pp.) $14.95 | Mar. 15, 2019 978-1-77147-322-4 Series: Baby Animals

A well-known nature photographer shares some animal family portraits.

Eszterhas uses this selection of her striking animal photographs to introduce some of the many ways young animals are nurtured by parents, family members, and their communities. In these endearing images, her fans will recognize animals she’s studied in the field and written about previously, including cheetahs, sloths, elephants, and lions, but there are more: chimpanzees, albatrosses, topi (a type of antelope), polar bears, humpback whales, and bat-eared foxes. Beautifully reproduced close-ups of a baby animal and often its siblings with one or many caregivers fill each double-page spread.

Superimposed is a boxed paragraph with simply written information about how that animal is nurtured. Sometimes there’s an additional image. The author’s point is clear: “no matter what kind of family they have, babies need care and support from others as they learn and grow.” She shows baby animals with one parent or the other (Dad or Mom), with both parents, or with a relative (Auntie), as well as babies in groups or herds.

She points out that while all the albatrosses in a colony might look the same to us, parents recognize their own chick’s call.

In the backmatter are smaller images of even more animal parents and children, including the puppy who’s a member of the photographer’s own family.

A package that’s appealing and accessible; a good suggestion for fledgling readers. (Informational picture book. 3- 7)

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Children experience familiar frustrations that bring uncomfortable feelings such as worry, sadness, and fear.

A toy is lost; big waves crash; a pet is hurt. During each painful moment, an adult caregiver shows up and is present with the child, helping the child find strength. Papa shares “his brave” with his daughter to help her with “[her] scared”; Grandma shares “her love,” helping “sad” to fade away. When the children next face something difficult on their own, they find they have stores of inner strength and coping skills. This book explicitly tells its young readers, “You are more than just your feelings.”

It encourages children to take the comfort they receive from caring adults and transmute it into their own strength. The children do so in lots of ways—they go outside, breathe softly, sing a favorite song, and draw with bright colors. The message is not to replicate any one specific strategy but to find any resonant strategy in the moment. Illustrations are realistic, emotive, and clear. However, the deep saturation and consistently dark palette make even the cheerful spreads feel a bit heavy. This setback is a minor one when compared to the book’s overall utility, which is amplified by a note from an anxiety specialist to parents and caregivers in the back. The cast is a diverse one.

Powerful and affirming. (Picture book. 4-10)

turn is just so-so (Paula’s self-confidence has been well-established throughout, so its resurrection comes as no surprise), ending on an uplifted note both visually and textually reassures readers that both Paula and her father will come through this trying time just fine. Both Paula and her father present white.

A gentle, touching story of loss and resilience and of the beneficial role imagination plays, with visually intelligent and well-executed illustrations. (Picture book. 3- 7)

WHAT ARE YOU DOING, BENNY?

Fagan, Cary Illus. by Denton, Kady MacDonald Tundra (36 pp.) $17.99 | Apr. 2, 2019 978-1-77049-857-0 A young fox cub just wants to play with big brother Benny. kirkus.com

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Crabby’s persistent grumpiness and the patient plankton’s exasperation are shown clearly in their expressive eyes and mouths as well as their dialogue. hello, crabby!

Benny builds a fort, makes a paper airplane and a sandwich, rides a bike, plays guitar, and more. His unnamed younger sib enthusiastically promotes the many ways in which they could enhance these activities—but, alas, to no avail. Benny’s answer is always a resounding, “No.” Benny seems to know the effect his rejections have on his sibling, signaling this awareness with a subtle, sly look of satisfaction. When the little cub withdraws from the action, Benny comes and tells the younger fox he is going out, fully expecting his sib to follow, which the cub does, only to face further rejection. Finally the cub decides to put on a puppet show alone, engaging in mimicry of those interactions.

And the next time Benny invites the cub, it’s the younger child’s turn to say, “No, thanks.” Surprised, Benny brings a sandwich as a peace offering, and they play with the puppets together.

Relating the tale in the first person by the younger fox in childfriendly dialogue and with delightfully imaginative imagery, Fagan treats the sibling relationship with humor and kindness, leading to a win-win outcome. Placed in a series of individual boxes, along with single- and double-page spreads, Denton’s softly hued ink, watercolor, and gouache illustrations present a well-to-do fox burrow and a plethora of details that make each incident and emotion fully realized.

A lovely, gentle exercise in getting along. (Picture book.

3- 7)

THE GREAT INDOORS

Falatko, Julie Illus. by Chan, Ruth Disney-Hyperion (40 pp.) $17.99 | Apr. 2, 2019 978-1-368-00083-3

When a human family goes away for a week, various animals use their home as a vacation spot.

On the front endpapers, the van is depicted driving off, packed with sleeping bags, fishing poles, and gear. Animals peek out from behind bushes, and the bears are the first to step inside the house. “Ah, the great indoors!” The bears are followed by beavers, who make extensive use of the conveniences of the kitchen; next come deer, ready for a dance party, and skunks, who enjoy the “simple life” with electricity. Toward the end of the week, things start to go awry, with messes everywhere. The animals start to miss home, and they’re ready to leave, though they make plans to return next year. Chan’s playful illustrations use clean lines and watercolor in light colors to build from fun to chaos. The text is filled with inside jokes for knowing older members of outdoorsy families, but even those don’t manage to raise the story’s humor beyond a smile. With little substance beyond the familiarity of the role reversal and no interesting surprises or humor to grab readers’ attention, this book doesn’t reach its potential.

A cute concept poorly delivered. (Picture book. 4-8)

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HELLO, CRABBY!

Fenske, Jonathan Illus. by the author Acorn/Scholastic (48 pp.) $15.99 | $4.99 paper | Apr. 30, 2019 978-1-338-28151-4 978-1-338-28150-7 paper Series: Crabby Book, 1 Four linked vignettes featuring characters introduced in Fenske’s picture books (Plankton Is Pushy, 2017, etc.) use the same words over and over while providing context for vocabulary new to beginning readers.

Crabby lives up to their name—they’re crabby. The sun’s in their eyes, salt’s in their teeth, sand’s in their shell—just another day at the beach. They’re looking for excitement but are too selfabsorbed to understand “boring Barnacle’s” warning, “Wave!” In the second chapter, “pushy Plankton” tries to get Crabby to see the bright side of life at the beach, but Crabby insists, “Crabs are crabby. It is what we do.” In Chapter 3, “The Joke,” Crabby refuses to be amused. Finally, in Chapter 4, Plankton almost gets Crabby to smile by baking them a five-layer chocolate cake. Even then, though, Crabby says, “I prefer lemon” and observes, “It is a little dry.” Crabby’s persistent grumpiness and the patient plankton’s exasperation are shown clearly in their expressive eyes and mouths as well as their dialogue. Pages broken into colorful panels and color-coded speech bubbles help beginning readers focus on the words. Flat, two-dimensional cartoon drawings and a smaller-thanusual trim are designed to help new readers make the transition to chapter books with denser text and fewer pictures. Instructions on drawing Crabby and a story prompt close the book.

So silly it’s unlikely to make new readers crabby. (Early reader. 4-6)

DO YOU LIKE MY BIKE?

Feuti, Norm Illus. by the author Acorn/Scholastic (48 pp.) $15.99 | $4.99 paper | Apr. 30, 2019 978-1-338-28139-2 978-1-338-28138-5 paper Series: Hello, Hedgehog, 1 In this debut to the Hello, Hedgehog series, the titular hedgehog and a friend have fun on their bikes together.

Divided up into three chapters, this graphic early reader starts with Hedgehog looking all over for his helmet only to realize he left it in the easiest-to-remember place possible. In the second chapter readers meet Hedgehog’s friend Harry, who looks like a guinea pig (but is never identified as such; nor is Harry gendered, unlike Hedgehog.). Harry is timid compared to bold Hedgehog, afraid of the bike’s speed, and embarrassed at their continued reliance on training wheels. The third chapter concludes with the healthy-snack–filled aftermath of their long bike ride. One drawback is that the chapters are somewhat haphazard |

in their length; the first is a scant eight pages, the second twice that, and the third is 12 pages, which makes the pacing a bit inconsistent. The effective graphic-novel style will appeal to early readers drawn to that format, and the carefully simple but energetic text will help those readers find success. The story is sweet, almost old-fashioned in its innocence, with basic messages about friendship and empathy. Cartoonist/author Feuti utilizes bright colors, highly emotive facial expressions, and color-coded speech bubbles to keep it kid-friendly and engaging. Also included are a guide to drawing Hedgehog at the back and a story prompt.

A fun addition to a young reader’s collection. (Graphic early reader. 4-6)

ISABELLA, ARTIST EXTRAORDINAIRE

A child can’t decide how to spend her day but takes inspiration from her love of art.

Isabella is content to spend her day off from school at home with her stuffed toy mouse, but her parents try to find alternate activities. Their discussion about possible places to visit and things to do is embedded with fine-art references that are also depicted and referenced in the illustrations. When Isabella’s mother asks, “[H]ow about the park?” Isabella responds, “Let me THINK about it,” and digital art depicts her as a statue in a pose similar to Rodin’s The Thinker that’s being carved by her nowanthropomorphized, sentient toy. Subsequent spreads reveal 10 other references to fine art, all but one of which are by white men.

Mary Cassatt’s The Boating Party is the exception, in a spread depicting Isabella and her parents in a rowboat as she says, “A BOAT PARTY would be fun....But it’s awfully chilly today.” The exclusivity is enough to make readers “SCREAM” like Munch’s subject in another painting referenced in the book. At the end, Isabella invites her parents to see a museum of her own making, and they admire pictures on her bedroom wall inspired by the referenced art pieces, which are then identified in backmatter.

Extraordinarily exclusive. (Picture book. 3-6)

THE ROAD NOT TAKEN

Frost, Robert Illus. by Mineker, Vivian Familius (32 pp.) $17.99 | Mar. 1, 2019 978-1-64170-107-5

Robert Frost’s familiar 1915 poem presents enigmatic choices for an elementary-age boy.

A red-haired elementary-age boy trekking through golden woods with a beagle comes to a place where “two roads diverged.” |

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Fosberry, Jennifer Illus. by Litwin, Mike Sourcebooks Jabberwocky (32 pp.) $17.99 | Apr. 2, 2019 978-1-4926-7264-7

Wishing he could “travel both,” the boy studies one road and then chooses the less-worn path, opting to keep the other road for “another day,” knowing he’s unlikely to “ever come back” and taking the road “less traveled by” could “make all the difference.” Richly hued illustrations in a palette of yellows and blues rely on simple rounded shapes, flat patterns, varying perspectives, and single- and double-page spreads to provide a possible context for Frost’s spare verse. Dwarfed by stylized trees resembling giant yellow toadstools, the boy begins his journey wearing a striped hoodie, blue backpack, jeans, and red boots. An impressive treetop view shows boy and beagle confronting the diverging path, emphasizing the magnitude of choice. The boy picks up fallen leaves, ponders two unknown roads, selects a leaf for his backpack, and proceeds along his chosen path. As he journeys, scenes from his ensuing life unfold, carrying him from childhood to becoming a young man with a family and eventually an elderly man, still musing about the choice he made in the woods that indeed changed everything. Inexplicably, his hair darkens from red to brown with a single page turn, which is likely to befuddle more than one reader.

A favorite Frost poem reveals how serendipitous choice affects a lifetime. (Picture book. 4-8)

THE SECRET OF ZOONE

Födi, Lee Edward Harper/HarperCollins (352 pp.) $16.99 | Mar. 5, 2019 978-0-06-284526-9 Series: Zoone, 1 This portal fantasy begins with a door to nowhere.

One uneventful day, a pipe bursts in Apartment 2B, where Oswald “Ozzie” Sparks lives with practical, orderly Aunt Temperance while his high-powered parents travel the world. Imaginative, lonely Ozzie sets off in search of creepy Mr. Crudge, the building’s caretaker, and stumbles upon a mysterious door. This door has “an energy about it,” and for some reason Aunt Temperance seems to have a key to it. A few days later, Ozzie arrives home to find a blue, curly-eared, winged, tigerlike creature called a skyger waiting for him. Telling Ozzie his name is Tug, he invites the boy to Zoone, the heart of the multiverse, where the Convention of Wizardry is about to commence and the secret of this world between worlds awaits. Using Aunt Temperance’s key, Ozzie enters, but the door explodes, leaving Ozzie with no way home. Though he’ll have guidance from Lady Zoone, the steward, Ozzie will need to discover the secret on his own. He’ll also find out he’s much braver than he thinks over the course of this rather contemplative adventure. Like many a magical world before it, Zoone is full of colorful characters. Even Aunt Temperance wasn’t always so “mundane,” as Ozzie learns. She appears to suffer from depression, which Ozzie understands as sickness. Tug has a disability among those of his kind: His wings don’t work. Capt. Cho, head of Zoone security, has brown skin; assume whiteness for other humans.

A promising start for a new series. (Fantasy. 8-12) kirkus.com

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INTERVIEWS & PROFILES

Yoon Ha Lee

DRAGON PEARL IS A HIGH-OCTANE, SCIENCE-FICTION THRILLER PAINTED WITH A KOREAN BRUSH

By James Feder Photo courtesy Jeff Mann

A prolific writer of science fiction and fantasy, Yoon Ha Lee’s short stories and novels are widely acclaimed— his debut novel was even nominated for the prestigious Hugo Award. In Dragon Pearl (Jan. 15), however, Lee strayed from his comfort zone of adult fiction in order to cater to a very different (and very specific) audience.

“I wanted this book to be for my daughter,” says Lee, whose daughter he describes as a big fan of Rick Riordan’s various middle-grade series. Dragon Pearl will be 92

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the third novel published under Riordan’s imprint, Rick Riordan Presents, which was founded with the express purpose of showcasing “diverse, mythology-based fiction by new, emerging, and under-represented authors.”

“That was one of the things that attracted me to Rick’s imprint,” Lee explains, “that he was opening up the space and promoting cultures that are not necessarily the default Western theme you see in science fiction and fantasy.” Setting himself against that traditional approach—and against another historic limitation within the genre, its overt reliance on male protagonists—Lee set out to tell a female-driven space opera grounded in Korean mythology.

Min is still a young teenager living with her family on an impoverished world when news arrives that her older brother is suspected of having deserted the Space Force. She quickly realizes that there’s more to the story than is being told, and so she decides to travel off Jinju and track him and the truth down. While such a perilous journey is made easier by the fact that she’s a fox spirit—a supernatural being capable of transforming her body into anything—it’s still far more challenging than anything she’s been up against yet in her short life.

For most American readers, the word “mythology” likely conjures up images of gods like Apollo, Zeus, and Odin. But those aren’t the deities Lee, who spent his childhood years in South Korea, grew up learning about.

“There are some godlike figures, but mostly what it is is a bunch of shape-shifting tigers who are out to eat your grandma,” he adds with a laugh.

Min’s journey takes her across the universe, to the ship her brother supposedly abandoned. Along the way |

James Feder is a writer based in Tel Aviv. Dragon Pearl received a starred review in the Sept. 15, 2018, issue.

FOREST

Gamblin, Kate Moss Illus. by Patkau, Karen Groundwood (24 pp.) $16.95 | Mar. 5, 2019 978-1-55498-879-2 Series: See to Learn What can you see in a forest?

A series of questions leads readers through an evocative visual experience in this exploration of the woods, its plants, and its creatures. The book begins with, “What do you see when you see a forest floor? Do you see feet—yours and mine— and the marks of others who have crossed this path, on hoof or paw?” It then moves through other sights, including animals, leaves, trees, clouds, days and nights, seasons, colors, flowers, finally leading up to: “Do you see the invitation of the forest, weaving all our lives together? What do you see when you see a forest?” Realistic, digitally rendered art is closely paired with the various descriptions, which focus on perceptions and perspectives related to interconnectivity, sustainability, and nature in all its forms. While the goals here seem to be education and nature appreciation as opposed to anything literary, the text has a lyrical quality. Grace notes in the art include a liberal attitude toward breaking the frame, as when strands of a spider’s web stretch across white space. This first in the See to Learn series is ideal for starting a dialogue about the natural world both at home or in the classroom.

An inquiry into the world of nature in general and forests specifically that will lead children to form observations and questions of their own. (author’s note, further reading) (Informational picture book. 4- 7)

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she makes new friends, meets old family, and crosses paths with a dazzling array of supernaturals, ghosts, and ancient powers. Yet despite the beauty and depth the Korean legends and history add to the story, Lee admits that for a long time, it didn’t occur to him to include elements from his own heritage in his writing.

That began to change, however, a few years ago as Lee watched a debate unfolding online around the diversity of stories being told in science fiction and fantasy. “I had this kind of really obvious realization, of, Hey, I’m not white, I don’t have to write about white characters.”

Prior to that, his work had revolved mostly around white characters because that was the “role model” within the genre. That’s what he himself had grown up reading.

Thankfully, things are changing. Realizing the appetite for diverse storytelling, publishers are reacting accordingly, especially in literature aimed at younger audiences. “I really hope that people who read this book are inspired to see what else is out there, because the diversity in voices, from disabled characters to characters with different body types, different sexualities, ethnicities, religions—it’s really reassuring.”

ROSIE AND RASMUS

Geddes, Serena Illus. by the author Aladdin (48 pp.) $17.99 | Apr. 2, 2019 978-1-4814-9874-6

A lonely little girl befriends a wingless dragon.

Every day, in a seaside village “with cobblestone streets, a water fountain, and an ice cream stand,” Rosie watches the other children laugh and play. She wishes they “would see her.” Every day, from his tree overlooking the village, Rasmus watches birds twirl in the sky. He wishes he could fly. When Rosie approaches Rasmus’ tree and he offers her a flower, the two become fast friends. Rosie teaches him to jump rope and pirouette; Rasmus shows her his flying kite, floating balloons, and favorite book (starring a soaring dragon). With clever kid logic, Rosie devises adaptations to help him fly, encouraging him in speech bubbles to no avail—until, out-of-the-blue, Rasmus sprouts his own wings. His wish granted, Rasmus sadly bids Rosie adieu (why he must leave is never explained); Rosie sadly resumes watching the other children play until, one day.... |

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The supportive world Clea inhabits both at home and at school is an ideal place free of stigma; would that all students with learning differences experience such in real life. focused

Geddes’ large-font text is lightly rhythmic; her pale, fuzzy pastels are soothing and humorous, and her protagonists’ sniffles and smiles endearing. Unfortunately, her heavy focus on Rosie’s helping Rasmus to fly turns him into a project as much as a friend.

Additionally, if readers interpret Rasmus’ missing wings as a disability, his obsession with flying and his abrupt wing growth may call to mind such overused tropes as a disabled character pining to be nondisabled and their miraculous recovery. Rosie is white; there is some diversity among the other children.

Despite its cuddly characters, this uplifting but unevenly developed friendship tale doesn’t quite soar. (Picture book. 4-6)

FOCUSED

Gerber, Alyson Scholastic (304 pp.) $16.99 | Mar. 26, 2019 978-1-338-18597-3 Gerber, who tackled scoliosis with Braced (2017), turns her lens on a young woman with ADHD. Massachusetts seventh-grader Clea loves magic and chess, hates math, and wants to be a better friend, sister, and student. No matter how hard she tries, she struggles to finish homework and tests on time, putting her spot on the chess team in jeopardy. Meanwhile friendships hit a snag when she impulsively blurts out sensitive information her best friend and chess teammate, Red, would rather keep secret. When teachers and the school counselor suggest her struggles may be related to ADHD, Clea is resistant to diagnosis and treatment, considering it a black mark and further evidence that she is somehow broken. Through it all a friendship blooms with Sanam, another chess teammate, who encourages Clea with her own story of learning differences and her persistent optimism. Though not a biographical story, Gerber’s tender first-person narrative perfectly resonates with the ADHD experience, which she knows firsthand. The supportive world Clea inhabits both at home and at school is an ideal place free of stigma; would that all students with learning differences experience such in real life. Gerber’s text and author’s note feature excellent information and resources for ADHD brains and the hearts who love them. Clea and Red present as white while Sanam’s name suggests she’s Middle Eastern or South Asian.

An accurate and compassionate picture of growing up with ADHD is the icing on the cake of this well-told novel.

(Fiction. 8-12)/

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FAST ENOUGH Bessie Stringfield’s First Ride

Gill, Joel Christian Illus. by the author Cub House (40 pp.) $17.99 | Feb. 5, 2019 978-1-5493-0314-2

Future black female motorcyclist Bessie Stringfield triumphs over boys who say she can’t join their daily bike races in this fictional imagining of her childhood.

“Have you ever been told you are not enough?” Bessie was.

Boys, black and white, are shown telling this darker-skinned girl with very large afro puffs that she isn’t “pretty enough” or “tough enough.” After school, they race past her, laughing when she says she wants to join them. Downcast, Bessie asks Mama if “girls can ride [bikes] fast,” to which Mama replies, “the only one who knows for sure is the Man Upstairs.” At bedtime, she asks in prayer, with one eye open, and then falls asleep. In her dream, she rides like magic through vast landscapes and cityscapes, so fast “she even raced up into the night sky.” She wakes up ready, and that afternoon, when the boys say “Go!” she zooms past them, astonishing everyone. Dark brown, gold, and neutral tones dominate the captivating scenes, which segue skillfully into paragraphs of backmatter information in smaller font about Stringfield’s impressive exploits. She traveled widely on her motorcycle(s) in the mid-20th century, using the Negro Motorist Green Book to stay safe when riding across America.

Discrepancies between different versions of her life story are explained as an example of how legends grow.

A playful introduction to Bessie’s exciting, triumphant, and unforgettable story. (Picture book. 5-9)

LITTLE DOCTOR AND THE FEARLESS BEAST

Gilmore, Sophie Illus. by the author Owlkids Books (32 pp.) $17.95 | Mar. 15, 2019 978-1-77147-344-6

A young girl must figure out a way to help a sharp-toothed and fearsome creature many times her size.

Crocodiles come from all over the jungle to see the child they call Little Doctor, who attends to a variety of ailments: splinters, sprains, and self-esteem issues.

In return for her ministrations they regale the girl with stories of adventure and fearless beasts. Then an enormous crocodile known as Big Mean appears at the girl’s door, and it takes some patience and an accidental trip inside Big Mean’s jaws to diagnose the problem. Little Doctor frees four hatchlings (carried gently inside Big Mean’s mouth) tangled and trapped by a plastic beverage yoke. Gilmore’s crocodiles, both large and small, are reptilian and sly, even dangerous-looking, accentuating the |

child’s devotion to these far-from-cuddly creatures. The girl is light-skinned, slim, determined, and serious. Her house in the jungle is filled with crocodile-themed art, including diagrams of the crocodilian life cycle and anatomy, and tools of the doctor’s trade—clipboards, a reflex hammer. The art is angular and detailed, with fine lines and subtle colors. The use of the word “fearless” instead of “fearsome” to describe the crocodiles emphasizes the courage it takes both humans and wild creatures to trust. Big Mean repays with a tale of “great daring and determination”—a story about the Little Doctor herself.

A rousing, toothy adventure. (Picture book. 4- 7)

CAPTAIN BARBOSA AND THE PIRATE HAT CHASE

When a sea gull snatches his hat, a pirate sets out to get it back.

A stern chase is a long chase, as this wordless import (from Spain) demonstrates. Enraged by the theft of his skull-and-crossbones hat, the captain charges off in a ship crewed by an elephant, a crocodile, and a mosquito. Various adventures later, from a storm to an encounter with a huge, green, one-eyed sea monster, the pursuers catch up at last—only to find the hat repurposed into a nursery. Fans of Jon Klassen’s hat dramas may be disappointed by what happens next: The captain shrugs, hugs the provident parent, and departs with a friendly wave. The white captain’s massive orange beard shines out from González’s loosely drawn and brushed nautical scenes; with that to focus on, even younger viewers should have no trouble sailing through the sequential panels. That the sea monster is entirely benign and even helpful also adds to the story’s friendliness to the younger edge of the audience range. Humor abounds, from the absurd casting choices for Barbosa’s crew to the moment when the chortling mariners add an orange pigtailed wig to the captain’s exposed, bald pate.

A droll, rather sweet addition to the flood of “I want my hat back” tales. (Graphic adventure. 4-6)

FAR AWAY

Graff, Lisa Philomel (272 pp.) $16.99 | Mar. 5, 2019 978-1-5247-3859-4 A voice from beyond the grave has a familiar ring to it. The spirit world may be closer than you might think.

Graff tells the story of Caraway June “CJ” Ames and her life with itinerant medium Aunt Nic. More than just a |

THE SECOND SKY

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González, Jorge Illus. by the author Graphic Universe (32 pp.) $26.65 | $7.99 paper | Apr. 2, 2019 978-1-5415-4154-2 978-1-5415-4527-4 paper

psychic, Aunt Nic has grown a reputation for channeling spirits.

CJ, 12, relishes Aunt Nic’s gift for one big reason—Aunt Nic can communicate with CJ’s dead mom. Now, on the cusp of setting up a reality TV show and making her career bigger than ever, Aunt Nic reveals that her sister’s spirit—CJ’s mom—has traveled to the Far Away, meaning she is beyond communicating with. That’s when CJ, with the help of always-nervous 16-yearold Jax Delgado, who’s recently joined Aunt Nic’s support team, launches her own adventure to lure her absent mother’s spirit closer to home. Graff (The Great Treehouse War, 2017, etc.) is known for her heartwarming blend of magic and reality. However, as CJ gets closer to the truth, this story feels mean—even cruel. And CJ’s reaction to the truth feels less like vindication than plain vindictiveness. Young readers may respond to the high drama of CJ’s emotional roller coaster, but the highstakes climax and ultimate resolution turn this adventure into an uncomfortable road trip with people you kinda wish you’d never met.

An unusual misstep for Graff. (Fiction. 8-12)

Guest, Patrick Illus. by Bentley, Jonathan Eerdmans (32 pp.) $17.00 | Mar. 5, 2019 978-0-8028-5520-6

A penguin longs to fly.

A half-hatched penguin peers out from his cracked-open egg on the title page, sharing his first view of the world with readers on the following double-page spread. The shell’s hole faces upward, so Gilbert sees only sky. “The moon glowed. The stars sparkled.

The birds wheeled.” Gilbert’s enamored. He needs to fly. But... he’s a penguin. “[T]he storm petrels, the shearwaters, and the wandering albatross” soar “Up Up Up,” those three words marching upward on the page. Gilbert, in contrast, flaps, waddles, slips, spins, and tumbles. The harder he tries, the more he falls, and the more renditions of him appear, emphasizing his failure—even 19 at once. He looks like he’s dancing across the spread, but dancing isn’t his goal. Family is unhelpful: “Give it up, Gilbert,” and, “You’re a penguin, not a goose,” Uncle Crabstack and Aunt Anchovy say quellingly. Gilbert is undeterred.

Trudging up a rocky, snowy height, he watches the albatross soar away “over the sparkling ocean.” He jumps to follow—and inadvertently finds his heart’s desire: the penguin version of flying, which is underwater and, it turns out, equally glorious.

With masterful composition and scale changes, Bentley creates a white and gently patterned icy world where flying birds wing in elegance both near and far. He renders Gilbert’s fluffiness brilliantly in watercolor and pencil—Gilbert appears soft, not wet—while giving adult penguins sleek edges and flying birds a fine delicacy.

Like Gilbert, this soars. (Picture book. 3-6)

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MR. SHERMAN’S CLOUD

Habbenink Illus. by the author Page Street (32 pp.) $17.99 | Mar. 5, 2019 978-1-62414-655-8

A bad mood and resulting rain cloud prove hard for Mr. Sherman to escape without help from a group of imaginative children.

When Mr. Sherman awakes “twisting and turning,” he anticipates “another lousy day.” Moments later, a dark cloud starts to rain above him—in his bedroom. Drop after drop makes him feel worse, and before he even steps outside, Mr. Sherman is soaked. The rain follows him “all day long,” and though people around him also get wet, they aren’t “nearly as bothered by it as he” is. When one person offers him an umbrella, Mr. Sherman refuses, determined to remain grumpy. While sitting alone on a bench, he notices that clouds forming above other people’s heads don’t last, yet he doesn’t seem to realize his own cloud may relate to his attitude. Only a kind gesture from three children pretending to be pirates can hope to remind him that sometimes “a little bit of a storm” is needed in life. Digital layering over pen-and-ink illustrations adds depth to scenes, and Mr. Sherman’s flushed cheeks and gray attire reflect his mood.

Readers will notice other characters’ skins are left uncolored.

However, with the exception of a Sikh man in the bus crowd and two passers-by, characters appear white.

A resilient reminder that everyone has down days—and a more important message that some people may need a little more support for the clouds to break. (Picture book. 4-8)

UNDERWEAR!

Harney, Jenn Illus. by the author Disney-Hyperion (40 pp.) $12.99 | Apr. 2, 2019 978-1-368-02793-9 A “Who’s on First” sketch featuring underwear.

After a bath, a happy-as-a-clam, carefree “Bare Bear” is halted in their soggy tracks by a very serious parental figure in the bathroom doorway: “Stop right there! / You should be wearing / underwear!!!” Whether the child truly mishears the parent’s words, is unfamiliar with the garment altogether, or is fooling around won’t matter to readers in the slightest: They will be too busy laughing hysterically at the cub’s antics. Once a spare pair of tighty whities has been procured (the first had a big tear), the parent allows some privacy, and the cub ponders, “Where to wear this underwear?” The cub’s unbridled enthusiasm and vibrant imagination will keep kids in stitches (“Underwear makes awesome hair”), though the parent bear is not as amused (“What the heck’s goin’ on in there?!”). Still, once yet another pair is pulled from the drawer, the two share a book together, and then it’s off to bed, but the adult’s ill-chosen goodnight wish provokes one 96

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last parting shot from the tot. Harney’s digital illustrations keep the focus on the bears by using monochrome colors for all but the salient details. Facial features and body language are spot-on, and the rollicking rhymes are the icing on the cake.

This will be a riotous hit wherever it’s shared, though be prepared to see underwear worn in lots of different ways. (Picture book. 3-6)

FRANKIE FROG AND THE THROATY CROAKERS

Hartas, Freya Illus. by the author Whitman (32 pp.) $16.99 | Apr. 1, 2019 978-0-8075-2543-2

A frog frets when he can’t make music.

Frankie the frog can’t croak, as hard as he tries. Unlike his fellow frogs, who easily break out into their signature sounds, and other pond denizens who produce their own natural utterances, Frankie can’t make a sound. One night, he hears glorious tones...and encounters humans, each of whom is playing, for a princess’s benefit, a melody-producing object Frankie dubs a “music machine.” Frankie rushes home and creates his own “machine,” which he calls Banjo; after considerable practice, he produces wonderful music. This is overheard by friends whom Frankie promptly helps as they devise instruments, too. Forming a quartet and developing a solid reputation, the group decides to enter the annual Croak Competition. Undeterred when told that only croakers can participate, Frankie invents a “froggy machine” that, well, croaks to beat the band. This is a thin, unoriginal story, but it could encourage readers to persevere in pursuit of their dreams; kids who can’t carry a tune might even consider taking up an instrument to fulfill any musical ambitions. The illustrations are the draw here—full of energy, liveliness, and wit, they populate a charming natural world with cheery, big-eyed, personable frogs and other animals of all sizes, some dressed in retro garb. Hartas stimulates interest with art that varies among full-page illustrations, panels, and spot-art pieces.

Some kids may hop to this beat. (Picture book. 4- 7)

THE NIGHT FLOWER The Blooming of the Saguaro Cactus

Hawthorne, Lara Illus. by the author Big Picture/Candlewick (33 pp.) $16.99 | Mar. 12, 2019 978-1-5362-0616-6

The Sonoran Desert in the Southwestern U.S. is home to the majestic saguaro cactus, which has the unique property of only flowering once a year. |

The story moves quickly, with lots of multiverse traffic, school hijinks, and strong, smart, diverse characters. sal and gabi break the universe

This book explores the creatures and plants that make up the unique desert ecosystem that is supported by this extraordinary plant. Hawthorne’s clean, elegant watercolor illustrations depict in striking detail a variety of flora and fauna, including the grasshopper mouse, which can stand on its hind legs and howl; the Gila woodpecker, which nests inside the cactus; a variety of insects; and the lesser long-nosed bat. The illustrations effectively convey the drama of the big-sky terrain and anticipation of the night flowering. “The desert wakes up as the temperature cools. / Animals search for the precious first bloom.” The process is described in aabb quatrains, which, although of uneven quality and sometimes loosely rhymed, help to direct readers’ eyes to what is happening on the spreads. More information about some of the creatures is shown in a closing spread along with an illustrated description of the life cycle of the saguaro.

A lightly done but compelling explanation of symbiosis among environment, animals, and plants that will appeal to science and visual arts enthusiasts alike. (Informational picture book. 6-10)

Heard, Georgia Illus. by DeWitt, Aaron Wordsong/Boyds Mills (32 pp.) $17.95 | Mar. 12, 2019 978-1-62091-520-2

Kids love to make animal noises.

The 13 poems in this collection vary in style, but all rely heavily on accurate animal sounds made by mammals, reptiles, birds, insects, and fish. A “performance key” on the contents page gives instructions for the proper reading by “two or more readers.” The poems are printed primarily in two colors, each meant for a reader (or readers) to read alternately, with a third signifying unison. The last poem, “Forest Orchestra,” has a different pattern, explained on that page, and could lead to a culminating symphony of sounds. With an adult leader to direct, the poems could become part of a creative performance piece, and use as a home read-aloud could lead to playful adult-child interaction. The bold, digital illustrations have a painterly feel.

“Rattlesnake’s Warning,” with its words printed in white and orange on a black double-page spread, is wonderfully enhanced by a coiled snake with mouth agape and two sharp fangs waiting.

This poem is one of the more powerful, with its short verses: “By night, / I see your heat / as I slither / near your feet” punctuated by the “chhhhhh-chhhhhh-chhhhhh” sound of the rattle.

Fascinating closing notes offer opportunities for caregivers to extend the instruction, but children aren’t likely to peruse these dense pages.

In the hands of the right presenter, this book could lead to exciting aural experiences. (Picture book/poetry. 6-9)

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Hernandez, Carlos Rick Riordan Presents/Disney (400 pp.) $16.99 | Mar. 4, 2019 978-1-368-02282-8 Series: Sal and Gabi, 1 Salvador Vidón is the new kid at Miami’s magnet school Culeco Academy of the Arts, but being at a special school doesn’t protect Sal from trouble.

Bullies are everywhere, but seventh-grader Sal knows just how to handle a difficult kid like Yasmany Robles. Obviously, you deal with a bully by opening a portal into another universe, taking a raw chicken from it, and planting it in the bully’s locker.

But you cannot just go opening portals into other universes without some consequences. For one, Sal gets sent to the principal on only his third day at Culeco and in the process meets Gabi Reál, who isn’t buying Sal’s innocent-magician act. The more pressing issue is that when Sal opens portals, sometimes his deceased mother comes through from alternate universes where she still exists—Mami Muerta, in Sal’s words. But if you could bring your dead mother back, wouldn’t you? The story moves quickly, with lots of multiverse traffic, school hijinks, and strong, smart, diverse characters. Most are Cuban-American in various shades of brown, like Sal, Gabi, and Yasmany, and Hernandez effortlessly folds in multiple intersectionalities, including Sal’s diabetes and Gabi’s unusual, delightfully matter-of-fact family structure. Secondary characters receive as much care and love as the primary cast, and readers will find themselves laughing out loud and rooting for Sal, Gabi, and even Yasmany until the very end.

This book, drenched in Cuban Spanish and personality, is a breath of fresh air. (Science fiction. 10-13)

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BOOM! BELLOW! BLEAT! Animal Poems for Two or More Voices

SAL AND GABI BREAK THE UNIVERSE

AN ABC OF FLOWERS

Hilpuesch, Jutta Illus. by the author Philomel (32 pp.) $16.99 | Apr. 2, 2019 978-0-525-51785-6

The title says it all—this is an alphabet of flowers!

Each page depicts a giant letter of the alphabet in a soft, flat color, superimposed with a color photograph of a flower beginning with that letter and the name of the flower printed in lowercase. Because there must be a flower for every letter of the alphabet, some of the flower names are rather obscure. A case in point is “ulex,” which is the Latin name for a European genus of flowering plants; the one pictured is gorse, which will probably not be familiar to most North American readers. Similarly, “xeranthemum” is the word used for the letter X, and only one flower of this European genus of daisies is shown. This serious botany is lightened somewhat by decorative black-and-white kirkus.com

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The volume subtly encourages eating seasonally and locally, using farmers markets, and planting gardens. cooking with bear

line drawings of a tiny, presumably white, girl who introduces herself along with the letter A: “Amelie, that’s me!” Amelie is depicted playing, dancing, climbing, swinging, and otherwise interacting with the relatively huge flowers. The line drawings are sweet, and a child might be captivated by Amelie’s antics, but the connection between her activity and the alphabet letter is hard to discern. Unlike many other, similar titles, no additional information is given about the flowers beyond their names.

Attractively designed but limited in educational value for beginning readers or botanists. (Picture book. 2-5)

THE ILIAD

Adapt. by Hinds, Gareth Illus. by the adapter Candlewick (272 pp.) $27.99 | $16.99 paper | Mar. 12, 2019 978-0-7636-8113-5 978-0-7636-9663-4 paper “Sing to me, O Muse, of the rage of Achilles”: a rousing graphic rendition of Homer’s great epic.

It’s a blood-soaked poem of primeval war, one ostensibly fought over a certain daughter of Zeus who turned the wrong head—“Or possibly an apple, or a lot of gold, or control of trade routes”—that brought vast armies to the plains of Troy. In a fight personified by two heroes, Trojan Hector and Greek Achilles, there’s more than a little graphic violence here—but nothing other than what Homer himself described, as when Achilles’ spear finds Hector’s neck, followed

by Achilles’ intemperate curse: “Your corpse goes to the dogs.”

That’s not very sporting, and of course Achilles gets his comeuppance. Hinds allows that his version is not complete, but all the best bits are there, and he provides some helpful interpretive hints—identifying the principal helmeted Greek and Trojan warriors with subtle alphabetical designs on their breastplates, for instance. The best graphic panels are the ones that show the war’s vastness, with a two-page spread of those famed thousand ships crossing the Hellespont, another panel showing the Greek army spilling out onto the plain, “like the great flock of migrating birds that take wing in the meadows by the stream of Caÿster—as numerous as the leaves of a forest.” An author’s note and page-by-page notes provide further context.

An expertly crafted rendition and a welcome invitation to younger readers to immerse themselves in the ancient past. (map, bibliography) (Graphic adaptation. 10-adult)

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COOKING WITH BEAR A Story and Recipes from the Forest Hodge, Deborah Illus. by Cinar, Lisa Groundwood (44 pp.) $19.95 | Apr. 2, 2019 978-1-77306-074-3

Spring is here at last in this companion to Bear’s Winter Party (2016), and Bear begins cooking for himself and his forest friends.

First, Bear makes watercress soup. Then his friend Fox arrives to share the soup. “Can you teach me to cook like this?”

Fox asks. So Bear shows Fox where he gathers his ingredients in the forest, and along the way, they visit friends. Squirrel has gathered nuts, so Bear shows Fox how to make nut burgers. Chickadee dried berries last summer, so granola with dried cranberries is next on the menu. Beaver’s dreams of apples lead to a recipe for maple-apple crisp, and Deer and Hare’s browsing to a spring greens salad with honey vinaigrette. The recipes provided for each dish have been taste-tested and are straightforward and clearly written. Young chefs are encouraged to cook with adults and ask them for help with anything sharp or hot. The volume subtly encourages eating seasonally and locally, using farmers markets, and planting gardens. Cinar’s colorful, large-format illustrations have a Raschka-esque flair to them, with loose, inky outlines and splashy watercolor fill; the animals’ faces are, appealingly, done in an especially childlike manner.

A fun, accessible first cookbook for the little foxes in our lives. (author’s note, recipe index) (Picture book/cookbook.

4- 7)

THE WIND PLAYS TRICKS

Howard, Virginia Illus. by Chua, Charlene Whitman (32 pp.) $16.99 | Mar. 1, 2019 978-0-8075-8735-5

When a fierce wind descends on the barnyard, the animals hear some odd noises...and they’re coming from their

own mouths.

The sudden wind unsettles all the animals on the farm just when they should be getting ready for sleep. Instead, they anxiously “cheep” and “cluck” and “oink” and “quack” and “moooo.”

They shift nervously, pull together, and make all sorts of noises.

All except Turtle, who tucks into his shell under an old log and sleeps. In the morning, though, the animals get a surprise. Pig says, “Cluck”; the Little Chicks say, “Neigh”; Horse crows, “Cock-a-doodle-doo.” How will they get their proper sounds back? Turtle has an idea, and he enjoys the process so much that he decides to open his mouth the next time the wind plays tricks at the farm: Perhaps he’ll catch a sound all his own. Chua’s cartoon barnyard is bright, and her animals, expressive, their faces |

BEATRICE MORE AND THE PERFECT PARTY

and body language slightly anthropomorphized. The edges of the figures sometimes betray their digital origins. Though the tale is humorous and will give lots of opportunity for practicing animal sounds, the audience is hard to pin down, as the young children sure to enjoy mooing and clucking may not have the patience to sit through the somewhat lengthy text.

For patient listeners, a fun visit to a mixed-up barnyard.

(Picture book. 3-5)

Hughes, Alison Illus. by Flook, Helen Orca (104 pp.) $6.95 paper | Mar. 19, 2019 978-1-4598-1709-8 Series: Orca Echoes

Beatrice More plans perfect parties— but her little sister’s birthday has snuck up on her this year, and things aren’t fall-

BE A MAKER

Howes, Katey Illus. by Vuković, Elizabet Carolrhoda (32 pp.) $17.99 | Mar. 5, 2019 978-1-5124-9802-8

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Follow along as a child makes a spaceship, a friend, and a difference in her community.

“Ask yourself this question in the morning when you wake: / in a world of possibilities, today, what will you make?” Upon waking up, a young girl uses her imagination and things she has at home to make a tower, a drum set, and a spaceship.

When she ventures outside, she makes a new friend. Working together, they make a lemonade stand and then make a donation to the local park. Finally, they make a choice to help more in order to make a difference in their community. Howes speaks to readers in rhyming verse about the many things they can make, intentionally repeating the verb throughout.

Including themes of creativity, imagination, music, engineering, relationships, economics, and community service, she creates a powerful message about making choices to be proud of.

Vuković uses mixed media, including watercolors and crayon, to create lively, striking illustrations. The pictures capture a child’s imagination and how ordinary things can be made into something extraordinary. Together the text and the illustrations create an excellent read that will empower readers to reflect on their own lives and make a change or two or three.

The unnamed protagonist has brown skin and long, dark braids; her friend presents white.

This is more than just a book about making and engineering: Make an excellent choice to add this to the shelves.

(Picture book. 4-8)

ing into place.

Eight-year-old Beatrice is a list-maker who thrives on being “professional” and keeping things tidy. When she realizes that Sophie’s birthday is in just two weeks, Beatrice has every intention of throwing the perfect party—but there are obstacles in her way. Her mother’s birthday cakes are lumpy and often burned.

Her father sees no reason to buy new decorations even though their leftover decorations are from Halloween and Christmas.

And, the family having recently moved, Sophie doesn’t have friends to invite, so Beatrice hands out invitations to random kids at the local playground. Things start to look up when Beatrice finds the perfect present for Sophie at the toy store, but then the dog gets to it while Beatrice looks for a hiding spot that won’t mess up her perfect bedroom. The expected problems are compounded by some unexpected, chuckleworthy ones, but Sophie declares her surprise party “absolutely purvect!” (Her idiosyncratic speech patterns may grate on readers.) Beatrice is brown-skinned like her mother; Sophie shares their father’s curly red hair and pale skin. Full-page illustrations move each chapter forward. Beatrice is quirky and familiar, with well-meaning parents; her settling for less than perfect is predictably sweet.

An appealing family story with a sincere and goodhearted protagonist. (Fiction. 6-9)

THE CASE OF WINDY LAKE

Hutchinson, Michael Second Story Press (160 pp.) $10.95 paper | Mar. 18, 2019 978-1-77260-085-8

Calling themselves the Mighty Muskrats, a team of cousins from Windy Lake First Nation in Canada set out to solve the mystery of a missing person.

Hired by a mining company to study the cultural value of potential prospecting sites on the reserve, the “bone-digger” archaeologist, Dr. Troy Pixton, has seemingly vanished while out conducting fieldwork. Chickadee and her cousin Samuel overhear Uncle Levi, a member of the Windy Lake police force, tell Grandpa about the disappearance, and the two enlist Samuel’s brother, Atim, and their other cousin Otter to help in the search. With very little information regarding Pixton’s last whereabouts to go on, the four kids race to kirkus.com

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their makeshift fort, a broken-down school bus parked in the community junkyard, to formulate a plan. As they interview community members, follow leads, and tail Uncle Levi, it soon becomes apparent that anyone—from elders concerned about desecration of sacred sites to environmental warriors dedicated to protecting water—could be involved. It will take teamwork and Indigenuity for the Mighty Muskrats to solve the case. The third-person narrative economically informs unfamiliar readers regarding Indigenous/First Nation politics, family dynamics, and concerns in an entertaining manner without detracting from the plot. Additionally, Chickadee’s rez-tech savvy pairs well with her cousin Otter’s bushcraft skills, and, along with Atim’s brawn and brother Samuel’s leadership, the four make a fine team.

From Cree author Hutchinson, an Indigenous version of the Hardy Boys full of rez humor. (Mystery. 9-12)

ROAD TRIP

Ingalls, Ann & Gallion, Sue Lowell Illus. by Ceolin, André Sleeping Bear Press (32 pp.) $9.99 | $4.99 paper | Mar. 15, 2019 978-1-53411-006-9 978-1-53411-007-6 paper Series: Tip and Tucker This beginning reader introduces children to two hamsters with quite different personalities.

Part of the I Am A Reader line, this first outing for Tip and Tucker opens in a pet shop, where Mr. Lopez has come to purchase a pet. Tucker, a larger tan hamster, is excited and tries to get Tip, a smaller gray-and-white hamster, interested.

But Tip is the opposite of curious, adventurous Tucker, and he hides in his plastic igloo. Mr. Lopez purchases both hamsters, some food, and a cage. Tip gets even more nervous when the man tells Rosa (whether proprietor or clerk is unclear) that the hamsters’ new home will be noisy; he doesn’t like noisy. The trip to the car is bumpy, and the car ride is more of the same. But Tucker likes the look of their new home: It’s got blocks, jump ropes, balls, and lots of books. Mr. Lopez’s parting words raise more questions for the two—“See you tomorrow. Your first day of school!”—and set up the sequel. Short sentences in a fairly large font and repetition help make the text of this rather bland plot manageable for confident beginning readers, while Ceolin’s adorable illustrations give children clues and nicely show the contrast between nervous Tip and reassuring Tucker. Mr. Lopez and Rosa are probably both Latinx; he with light skin and glasses and she with brown skin.

Tip and Tucker are not Elephant and Piggie, but they’re cute and provide good practice for new readers. (Early reader.

5- 7)

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PUDDLE

Jackson, Richard Illus. by Raschka, Chris Greenwillow (40 pp.) $17.99 | Mar. 26, 2019 978-0-06-265195-2 A self-conscious puddle experiences growth, is used and fouled, and finds purpose as she interacts with her environment and reflects the world’s beauty while finding her own.

As rain pools on the ground, a personified puddle worries she’s becoming a “pudge” compared to her siblings. Blue-grays mingle to create a melancholy mood until a sea gull descends to play in her waters. Soon sneakers, a ball, and—to Puddle’s alarm—a poodle and its piddle disgrace the poor puddle. But sudden sunshine dries up the shallow pools that are her siblings, and golden hues softly glow around and from the solitary puddle. A bell rings and children stop, dazzled by the sky, the puddle, and the rainbow reflected in each. The reach of a child toward that radiance makes all the humiliations of the day melt away; to the puddle the reach is everything. Expressionistic paintings, done in watercolor with gouache, play like music. Propelled by Jackson’s rhythmic read-aloud text, the abstract artwork reveals the changing inner and outer workings of the puddle, moving from dark to light and doubt to love. With his willingness to experiment and the earnestness with which he applies each stroke of his brush, Raschka perfectly captures a child’s wonder and excitement in the world.

Luminous and lovely, with colors to fill the soul. (Picture book. 4-8)

A GOOD NIGHT FOR SHOOTING ZOMBIES

Jacobs, Jaco Illus. by Tierney, Jim Trans. by Geldenhuys, Kobus Oneworld Publications (176 pp.) $12.95 paper | Mar. 12, 2019 978-1-7860-7450-8 A punch in the face sets Clucky and Vusi on the start of an unlikely friendship.

Clucky is a bit of a loner. His mother and sister still suffer from the impact of his father’s sudden death, with his mother refusing to leave the house and his sister now alienated from the family. Vusi is largely housebound due to Hodgkins disease and is cared for by a nurse while his parents also hover. Yet Vusi convinces Clucky to join him as he works to create a zombie film. On set around their neighborhood, these two youngsters are joined by Chris, a schoolmate of Clucky’s. When Chris suggests they use a garage that houses her imprisoned brother’s possessions, the trio place themselves in the crosshairs of a local gang, which happens to have Clucky’s sister’s boyfriend as its leader. In one painful encounter with the gang, Vusi’s dreams are dashed. Clucky, desperate to fix things, |

Like the chugging of The Beast, Johnston’s poetic prose permeates Manuel’s journey and gives a steady rhythm to the story. beast rider

rallies the community to pull off the impossible. Jacobs, a South African writing in Afrikaans, uses naming convention to hint at ethnicity, while Tierney’s illustrations depict Clucky and Chris as white and Vusi as black. Death is present in both reference to Clucky’s father’s accident and Vusi’s illness, but Jacobs delicately weaves it throughout the tale in a way that both celebrates life and places importance on human connection as it affects the lives of those who remain.

An emotive and enjoyable read. (Fiction. 10-14)

THE PROPER WAY TO MEET A HEDGEHOG And Other How-To Poems Ed. by Janeczko, Paul B. Illus. by Jones, Richard Candlewick (48 pp.) $17.99 | Mar. 12, 2019 978-0-7636-8168-5

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Johnson, Cathy G. Illus. by the author with Czap, Kevin First Second (224 pp.) $12.99 paper | Mar. 5, 2019 978-1-62672-357-3 This jam-packed graphic novel featuring diverse girls tackles friendship, identity, and more.

When black fifth-grader Faith is recruited to the girls soccer team on the first day of school, she hopes to be welcomed into the popular older crowd. But Sodacan and Marie, two cynical but welcoming white seventh-graders, inform her that the three of them are firmly at the bottom of the C team. At night, Faith draws and then dreams of a mysterious brown-skinned knight named Mathilda who whisks her away on magical adventures that help her navigate her waking surroundings. Each team member has life issues that they bring onto the field: Crushes, sexual harassment, rivalries, and cliques provide enough distraction to keep the team from winning. It’s an exciting portrayal of young characters exploring their sexual and cultural identities, but there is an awful lot going on. With so many characters and storylines it becomes difficult to grasp any singular theme or connect with all of the personalities. Hijabi MVP Nadia helps rescue the season; vegan Sodacan recruits teammates into her all-girl band; Latinx Yarelis takes the game super seriously; Vietnamese-American Huong’s busy parents are unable to attend her matches. In one of the many sensitively handled moments, one player comes out to a teammate as a trans boy during a sleepover. Happily, though it’s stylized, Johnson’s art successfully individuates the many characters, aided by Czap’s soft pastels. Readers will be sorry there are no additional volumes planned to flesh out these characters further.

Groundbreaking—and as complicated as middle school.

(Graphic fiction. 8-14)

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This anthology provides instruction on an eclectic sprawl of topics: walking on Mars, toasting marshmallows, telling the difference between goblins and elves, and more.

A table of contents readies readers and makes this zany collection feel orderly. “How to Build a Poem” comes first, celebrating the craft that underpins poetry and “words that hammer, / words that nail, / words that saw, / words that sail, / words that whisper, / words that wail.” Children immediately feel the pull of all the verse ahead. Contemporary poems make up the bulk of this collection, but a few poems reach across swaths of time. Robert Louis Stevenson’s brilliantly evocative “The Swing” proves how a great poem endures. Children will soar hearing, “Up in the air I go flying again, / Up in the air and down!” All of the poems offer exhilarating construction while speaking directly to children about topics young people hold close to their hearts (haircuts, riding a new bike, rules). Depicting a diverse gathering of children, these mellow painted illustrations feel at once soft and gravely, with crosshatching, textures, and lines. The engaging artwork nudges the poems into the foreground, giving them ample room to breathe. The collection closes with “How to Pay Attention,” just two lines that are almost a sacred offering. “Close this book. / Look.”

Young people lucky enough to find this miraculous collection in their hands will indeed look. (Picture book/poetry.

6-11)

THE BREAKAWAYS

BEAST RIDER

Johnston, Tony & Fontanot de Rhoads, María Elena Amulet/Abrams (192 pp.) $17.99 | Mar. 19, 2019 978-1-4197-3363-5 Manuel follows in his brother’s footsteps as he jumps a train that will take him to the U.S.–Mexico border.

“Call me Manuel.” Johnston and Fontanot de Rhoads evoke Moby-Dick’s iconic opening in setting the scene for Manuel, a 12-year-old Mexican boy, to conquer The Beast and reunite with his brother Toño. Leaving behind his corn-farming family and the milpita they work in Oaxaca, Manuel rides The Beast, a name given by locals to the many trains traveling north. For many The Beast is a vehicle that will lead them to their hopes and dreams. For kirkus.com

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Iranian-born Kazemi’s illustrations are as porous and open to interpretation as Lawson’s text. over the rooftops, under the moon

others, it is a monster that will tear away their limbs and disable them for life. With danger lurking on each train car, Manuel must be cautious of the brutal gangs that prey on the weak and rely on the bond that unites migrants on their harrowing journey and the patrons who help riders tame The Beast. Like the chugging of The Beast, Johnston’s poetic prose permeates Manuel’s journey and gives a steady rhythm to the story even as Oaxaca-based psychotherapist and translator Fontanot de Rhoads provides details to ground it. Without shying away from the cruel and often crude journey that migrants experience, the authors deliver a captivating story of travelers dreaming a better future and their incandescent fight to achieve it.

A beautiful, visceral plunge into the perils that the train-jumping migrant brotherhood experiences. (Fiction.

12-14)

MASTERS OF SILENCE

Kacer, Kathy Annick Press (272 pp.) $18.95 | Mar. 12, 2019 978-1-77321-262-3 Series: Heroes Quartet, 2

Helen and Henry are among a group of Jewish children hidden in a convent in southern France in Kacer’s second entry in her Heroes Quartet after The Sound of Freedom (2018).

They are both deeply affected by the abrupt and frightening changes in their lives, Henry so much so that he cannot speak at all, even to Helen. They must immerse themselves in convent life, attending church services and even taking new French identities. Helen is able to make friends, but Henry remains silent, spending his time writing in a journal that could, if discovered, place them all in jeopardy. The children’s only respite comes from visits and performances by the mime Marcel Marceau. But “the clown,” as the children call him, has a much more important role; he has helped many Jewish children escape by providing perfectly forged documents and pretending to be a Scoutmaster leading hikes to spirit them to the Swiss border. When the Nazis arrest one of the nuns, the clown takes Henry, Helen, and another child on that hike. Henry and Helen’s tale is told in alternating third-person chapters, letting readers feel their sadness, fears, and longings. Marceau’s heroic role in the war has been documented, and it is seamlessly woven into the story. (A biographical note is appended.) As the Holocaust passes further into history, it is imperative that it be remembered.

Both a harrowing, gut-wrenching tale and a heartfelt homage to a quiet hero. (Historical fiction. 10-14)

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SUSAN B. ANTHONY

Kanefield, Teri Abrams (240 pp.) $16.99 | Mar. 26, 2019 978-1-4197-3401-4 Series: The Making of America, 4 Susan B. Anthony was among the earliest proponents of women’s rights and devoted most of her life to the cause.

In an in-depth biography of this important historical figure, Kanefield relies heavily on primary-source materials, especially Anthony’s own revealing words. Born to a Quaker father and a mother who refused to join the sect, Anthony was encouraged in childhood to be strong-willed. Once she became involved in furthering women’s very limited rights, she’d need every bit of that will, often speaking before hostile crowds at a time when women were expected to remain within their own sphere, managing a household and raising children. Gaining women the right to vote was always the ultimate goal, but Anthony also campaigned for married women to be able to own property and to leave abusive husbands. In her lifetime she saw remarkable advances in women’s rights although she died before the movement achieved its final goal. Anthony presciently predicted that one day women would be unaware that they hadn’t always had freedom and rights. “They have no idea of how every single inch of ground that she stands upon today has been gained by the hard work of some little handful of women of the past,” an unfortunate ignorance that this biography, helps correct. The excellent backmatter includes notes, a timeline, excerpts from Anthony’s writing, a bibliography, and an index (the last not seen).

A fine biography, both enlightening and entertaining, on a critical topic. (Biography. 11-16)

OVER THE ROOFTOPS, UNDER THE MOON

Lawson, JonArno Illus. by Kazemi, Nahid Enchanted Lion Books (56 pp.) $17.95 | Feb. 26, 2019 978-1-59270-262-6 An individual’s relationships to self and community are pondered in this

metaphorical outing.

“You can be far away inside, / and far away outside. / With others, but still on your own.” Smudgy, mixed-media paintings use negative space to depict a long-legged bird that’s the offwhite of the mottled paper. It leans against a chimney, soars over a city, lounges with others of its ilk. As Lawson’s second-person text continues, the bird begins to interact with the city’s people, its feathers taking on colors and patterns worn by the diverse human residents. It rides a roller coaster with the humans as its flock takes wing. “But then snow falls / and something changes again.” As the humans don their winter coats, the bird flies from |

the icy climes to another city, with archways and palm trees, where it rejoins its flock, “alone and together / over the rooftops / and under the moon.” Iranian-born Kazemi’s illustrations are as porous and open to interpretation as Lawson’s text. The bare bones of the visual story are accessible to children who have begun to understand the fundamentals of migration, but they are also, appropriately, enigmatic. Children beginning to understand that they are separate from those who surround them will sense the emotional truth that underpins both pictures and text even if they cannot yet articulate it.

This metaphor for the construction of self offers much to thoughtful readers. (Picture book. 4-8)

HOME IS A WINDOW

Ledyard, Stephanie Parsley Illus. by Sasaki, Chris Neal Porter/Holiday House (40 pp.) $18.99 | Apr. 23, 2019 978-0-8234-4156-3

establish a new one.

Ledyard’s story begins in the familiar environs of a family’s well-loved and -lived-in home. In gentle, rhythmic prose, Ledyard describes home in myriad ways, from the concrete— “Home is a window, a doorway, a rug, a basket for your shoes”— to the visceral—“Home is Hello, sweet pea, and a hug, a little bit of green” (the last in the form of house plants). Home is not just a house. Home is a place where the family gathers at the table, where mother and daughter wash, rinse, and dry, and where there is always someone to help sweep up a mess. Home is “what feels the same each day”—and also “sometimes what is new.” Houses may change, but home goes with you in the form of “an arm around you tight” and “all that you miss.” Eventually everything will fall into a place, with “a window, sunlight, a corner for your toys.” Sasaki’s rough-hewn illustrations in pencil and marker are cleverly backgrounded with white (to provide focus) and dark space (to evoke melancholy). And his earthtoned, muted palette pairs beautifully with Ledyard’s spare text and the story’s slow, languid pace. The mother presents white, the father presents black, and the two children—a boy and a girl—have brown skin.

This sweet, emotionally perceptive book will help make any transition from old to new less scary. (Picture book.

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Lee, Mark Illus. by Dion, Nathalie Groundwood (36 pp.) $18.95 | Mar. 5, 2019 978-1-55498-979-9

When a child asks about the source of all the rain that has been pouring down for days, grandfather Big T. says he will reveal that answer after the storm, adding: “But first we’ll have to find the biggest puddle in the world.”

The text is gentle and sweet; the visiting grandchildren (the narrator and a little brother), despite being cooped up inside, show no animosity and only the slightest impatience. When the storm has passed, the same stylized, muted illustrations that revealed grandparents and grandchildren enjoying their lives inside an old, comfortable home give way to the children exploring outside with Big T. and his shaggy dog, Keeper. The quest for the biggest puddle in the world includes wooded areas and meadows, post-rainstorm phenomena such as mushrooms and newly opened wildflowers—and, of course, puddle-jumping.

The science of the evaporation cycle is so oversimplified that it is unlikely to register, but the idea that small bodies of water empty into ever larger bodies is clear—and leads to a joyous splashing scene. The return of the voyagers to the big old house and Granny B.’s homemade dessert is just the icing on the cake (or rather, the ice cream on the pie) for the quietly satisfying art and text. All characters present as white.

Familial love, nature appreciation, and a bit of natural science. (Picture book. 4- 7)

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A multiracial family leaves the comfort and warmth of their old home to

THE BIGGEST PUDDLE IN THE WORLD

WHEN SPRING COMES TO THE DMZ

Lee, Uk-Bae Illus. by the author Trans. by Won, Chungyon & Won, Aileen Plough (40 pp.) $17.95 | Mar. 1, 2019 978-0-87486-972-9 This bittersweet picture book walks through the four seasons at Korea’s heavily weaponized demilitarized zone, celebrating the nature that thrives there while mourning the human cost of this border wall.

Although the story does not even define or discuss the DMZ or the Korean War, colorful illustrations reveal to young readers the long fences of razor wire hugging a beautiful mountainside. But because no humans are allowed in this 2.5-milewide, 150-mile-long buffer zone, the area has unintentionally become a nature sanctuary. The water deer, striped salmon, and mountain goats know no limitations to their habitat, crossing borders, swimming under barbed wire, and nesting near land mines. Their freedom, together with many references to home and family, stand in stark contrast to the military exercises that have continued through the cease-fire since 1953. Lee views this kirkus.com

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irony through the character of elderly Grandfather, who makes his way to the wall every season, gazing longingly upon his inaccessible former homeland. A foldout reveal at book’s end is symbolic of the hope of a reunified Korea, with a simple reunion embrace representing the dreams of families separated since the 1950s. The endnote provides needed background along with a plea for peace and freedom.

The cupboard is nearly bare of children’s books about the DMZ, making this an excellent introduction to the crises on the Korean Peninsula as well as a great choice for social justice collections, peace promoters, and animal lovers. (Picture book. 4-12)

FLOWER TALK How Plants Use Color to Communicate

Levine, Sara C. Illus. by D’yans, Masha Millbrook/Lerner (32 pp.) $19.99 | Mar. 5, 2019 978-1-5415-1928-2

Readers learn the relationship between the colors of flowers and pollination.

With a googly-eyed cactus as her narrator, Levine explains why flowers need help with pollination from animals and why it’s key to the survival of plants. Since most plants need pollen from other plants of their own species to fertilize their seeds, their colors “advertise” their plants’ attraction to pollinating creatures. The text characterizes these adaptations as deception: “We trick them into carrying [pollen] for us. We’re nice about it, though—we pay them a little something for their efforts.” Intriguing facts surface: Red flowers appeal mainly to birds, since insects can’t see red. White flowers, often scented, are luminous to nocturnal moths and bats. The stinky smells of brown flowers lure flies. Green flowers, being wind-pollinated, don’t need to “talk” to animals. Using personification to convey science concepts to children is endemic—and the snarky narration will find fans. Two spreads on flowers that attract bees depict only bumblebees and honeybees, missing an opportunity to give readers a sense of the many families of bees. A labeled flower diagram does not identify the anther—only the pollen that sits atop it. D’yans’ digital-and-watercolor illustrations, while often lovely, emphasize vibrant color and aggregated species arrays, not scientific verisimilitude. The pictured plant and animal species go largely unidentified, leaving readers puzzling.

A casual introduction to the topic, with resources for further study. (pollination facts and diagrams, protecting pollinators, bibliography) (Informational picture book. 6-10)

DREW PENDOUS AND THE CAMP COLOR WAR

Adapt. by Lewman, David Illus. by Markowitz, Dan & Dress, Robert Sterling (96 pp.) $6.95 paper | Apr. 9, 2019 978-1-4549-3107-2 Series: Drew Pendous, 1 A YouTube cartoon launches a chapter-book series with a story about rival summer camps.

Anything superhero kid Drew Pendous draws with his Pen Ultimate magically becomes real. As it’s summer, instead of Cool School he’s attending Camp Cool School. While the text reads with the evident presumption that readers are familiar with the show, early pages also give a rundown of characters and names (along with Drew, the protagonists are all white with the exception of a lone black character, Ella). The capstone activity of the summer is a color war against the Cruel School Camp, where instead of traditional activities they practice “drilling holes in one another’s canoes and making fun of small woodland creatures.” A second character rundown reveals that these campers are mostly evil versions of the heroes, especially Ray Blank, Drew’s evil twin, who has a magic eraser to counter the pen. Instead of offering up a parallel for Ella, the traits of rotund, food-obsessed Robby are split between two villains who are both just as pathetic as he is. The contests—tug of war, arm wrestling, and dodgeball—between blue Camp Cool and red Camp Cruel are interrupted by another villain, the color-stealing gray (literally) Grace Cale. To get their colors back, they must all work together. The bright artwork and the design—combining illustrated pages and comic-book panels—will appeal to kids, but the humor’s not strong enough to elevate characters or concept in unanimated form. And the reliance on fatness and disability stereotypes (one Camp Cruel counselor has two hooks and an eyepatch) further sucks the fun out of the enterprise.

Skip. (Graphic/adventure hybrid. 5- 7)

THE BROKEN BEES’ NEST Beekeeping

Lukidis, Lydia Illus. by Ceolin, André Kane Press (32 pp.) $5.99 paper | $25.32 PLB | Apr. 1, 2019 978-1-63592-113-7 978-1-63592-112-0 PLB Series: Makers Make It Work This entry in the Makers Make It Work series elucidates bee biology and beekeeping within an easy-to-read multicultural story.

While searching for the perfect tree to build their treehouse, Arun and his little sister, Keya, stumble upon a damaged feral bees’ nest in an oak. They turn to Dr. Chen, a neighbor who has

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The illustrator’s puckish sense of humor and the narrative’s understated cadences combine to give this import an engagingly intimate tone. nests

NESTS

Márquez, Pepe Illus. by Colombo, Natalia StarBerry Books (40 pp.) $17.99 | Mar. 5, 2019 978-1-63592-126-7 From Spain, a warm assurance that “every nest is as special as every bird.”

The words (in uncredited translation) and pictures are mostly about birds and their nests, but perceptive readers will understand that the real subject is closer to home. After filling early pages with hundreds of fuzzy-edged animal figures that look like small stuffed toys, Colombo gives Márquez’s terse observations tongue-in cheek twists—placing nests and fancifully rendered nestlings atop a giraffe or in a crocodile’s mouth to reflect the fact that they are sometimes built “in very high spots” or “in dangerous places,” for instance. Some nests, he writes, “feel small,” others “crowded.” But even when not in the best possible spot (as, here, an empty tuna can), “for the bird family that calls it home...it’s the best nest in the world.” Literalminded audiences may be more attuned to the less-elliptical approach in similarly themed titles such as Carson Ellis’ Home (2015) or Cynthia Rylant and Wendy Anderson Halperin’s Let’s Go Home (2002), but the illustrator’s puckish sense of humor and the narrative’s understated cadences combine to give this import an engagingly intimate tone.

Sweet, funny, subtle. (Picture book. 6-8)

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IT’S TIME FOR BED

Mearns, Ceporah & Debicki, Jeremy Illus. by Mack, Tim Inhabit Media (36 pp.) $16.95 | Apr. 2, 2019 978-1-77227-227-7 An energetic Inuit girl develops a bedtime ritual built on refusals in this picture book featuring Canadian animals.

This is a very simple bedtime story for caregivers who wish to demonstrate the inevitability of getting tired and going to sleep, even when the child in question has as much energy as young Siasi. Beginning with the same refrain with each page turn—“It’s time for bed. The sun has set”—an unseen adult asks Siasi what part of her bedtime routine she has accomplished.

Reliably, Siasi yells, “NoooOOOooo!” when she is asked to complete her tasks in preparation for sleep. Her bedroom is depicted as a wilderness in which she mimics imaginary animals. She dances with a polar bear rather than brushing her teeth, runs with caribou instead of putting on her pajamas, and flaps her arms with a flock of geese when she should be putting away her toys. With its simple language and reliable call-andresponse structure, the book is well-suited for very young children or kids who are learning to read. Siasi’s spunk, as depicted in the lively illustrations, is the book’s greatest strength. Mack’s digital artwork features pleasing pastels, printlike textures, and shading that suggests Siasi’s imaginary animal world. While little kids will have fun honking, roaring, and howling with Siasi, the book lacks culturally specific details that would make this a more enduring read.

Siasi’s whirlwind curiosity, energy, and imagination will inspire younger kids to mimic and love the animal world (if not to go to bed). (Picture book. 3-6)

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beehives in her backyard and sells honey at the farmers market.

Arun, Keya, and Dr. Chen work together to relocate the bees to another hive and then to harvest and bottle the honey from the original comb. In the end, Arun reclaims the tree for their treehouse and crowns his sister “Queen Bee.” The text is a bit heavy-handed here and there: “Arun checked with his parents first. When their dad said yes, they raced to Dr. Chen’s house.”

While these didactic intrusions are well-meant, they weigh down the text, making the story less lively and zippy than the title and the illustrations by Ceolin would suggest. Still, the scientific information contained in both the narrative and supplementary inserts throughout, as well as the suggested “maker” activity in the backmatter (planting a bee-friendly garden), is top-notch. Notably, the feral hive is accurately depicted—a rarity. Arun and Keya’s family seem to be South Asian, and Dr. Chen is probably Chinese. Simultaneously publishing are series companions The Lost and Found Weekend, about sewing; Rocket Rivals, about rocketry; and Slime King, about chemistry.

A solid addition to any classroom library, with the added bonus of a cast that’s wholly people of color. (Early reader. 6-9) (The Lost and Found Weekend 978-1-63592-116-8 paper, 978-1-63592115-1 PLB; Rocket Rivals: 978-1-63592-119-9 paper, 978-1-63592-118-2 PLB; Slime King: 978-1-63592-1 to 2-9 paper, 978-1-63592-121-2 PLB)

HOORAY FOR BABIES!

Meyers, Susan Illus. by Cornelison, Sue HMH Books (32 pp.) $14.99 | Mar. 26, 2019 978-1-328-52847-6

A baby bonanza!

As in her earlier collaboration with Marla Frazee, Every­ where Babies (2001), Meyers uses light, rhyming verse to offer a joyful celebration of babyhood. Illustrator Cornelison depicts a diverse group of babies, with a range of skin colors and hair textures, enjoying all kinds of activities, only occasionally with glimpses of adults entering the busy scenes. For the most part, the babies are depicted in idyllic, independent groups; this at times strains credulity, as in a scene in which five babies float in a pool on individual inflatable devices without an adult in sight.

Neither text nor art offers a narrative arc, though as the end of the book nears, the busy babies do get sleepy. “We’re tired and we’re hungry now, / It’s time to have a snack. / We’re glad that we’re still baby friends, / tucked in for a nap,” reads the kirkus.com

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Mullady’s valuable lesson sneaks up on readers, delivered with appropriate gentleness. three little birds

accompanying text. Three spreads follow this one, with the babies now awake and frolicking again. The illustrations are painterly, done in bright colors with an eye to realistic detail.

However, the choice to leave adults out means missed opportunities to celebrate same-sex caregiving couples, one of the delightful features of the earlier title. The heavy, card-stock pages will stand up to a fair amount of abuse.

Sweet but not special. (Picture book. 6 mos.-3)

NO MORE POEMS!

Miller, Rhett Illus. by Santat, Dan Little, Brown (48 pp.) $17.99 | Mar. 5, 2019 978-0-316-41652-8

Serious poetic fun.

Dark humor abounds in Old 97’s singer/songwriter Miller’s first foray into light verse for children, where his zany poetic antics are deftly paired with the visually arresting mixed-media somersaults of Caldecott medalist Santat. Doubtless drawing on experiences from his day jobs as a rocker and father, Miller offers nearly two dozen rhymed “silly, subversive poems” aimed at capturing children at their scheming best and adults as less than perfect. The collection’s opening poem, describing the young speaker’s hidden talent for using a toe to flush the toilet, sets the irreverent tone: “I don’t have a name for my potty karate / I might call it Tae Kwon Doo / Or maybe I’ll say I’m a third degree black belt / In the top secret art of Kung Poo.” Later, in “i want a dog,” Santat employs full use of the double-page spread by depicting the speaker making her case (“I want a dog / I’ll give you until my next birthday / If there’s no dog by then I am RUNNING AWAY/ I’ll go off and live in a bog”) with the hilarious aid of a 55-slide presentation. Every facial expression displays his exceptional talent at visual characterization.

Whether describing a nighttime trip to the bathroom or discouraging fratricide, Miller and Santat’s fun, eminently contemporary collaboration will charm both kids and the adults reading with them. (Picture book/poetry. 5-10)

AWAY WITH WORDS The Daring Story of Isabella Bird Mortensen, Lori Illus. by Caldwell, Kristy Peachtree (36 pp.) $17.95 | Mar. 1, 2019 978-1-68263-005-1

A daring Victorian woman raised in England leaves ladylike behavior behind to travel the world and write.

The child of an English clergyman, Isabella Bird suffers from fragile health and depression. Thwarted by constrictive social mores, she is unable to go to school or spend time 106

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in nature. A doctor suggests she cure her aches with fresh air, and she is suddenly allowed to ride horseback in the countryside with her father. When she receives correspondence from her uncles in Colonial India, as well as letters from Christian missionaries in Africa, her adventurous spirit becomes further piqued. Still sick but responding well to the outdoors, Isabella is prescribed a long sea voyage. From all over the world, she collects stories for her publications. Mortensen describes Isabella as “like a wild vine stuck in a too-small pot,” yet Isabella seems unable to criticize Victorian society, and her Eurocentric attitude and lack of self-awareness shine through in some of her quoted observations about other cultures. She calls the land in Cheyenne territory “nameless” and celebrates how people are “free as the winds” there, exoticizes a meal in Malaysia, and depicts Chinese locals as violent. While Isabella’s imperialistic perspective is historically accurate—and fairly quiet in this picture book—it will quickly become appallingly apparent to any young reader inspired by the book to seek out Isabella’s actual writing. Caldwell’s illustrations are clean and beautiful.

Ultimately, the heroine in this story is more complicated than the text makes out. (author’s note, timeline, sources, bibliography) (Picture book/biography. 5-8)

THREE LITTLE BIRDS

Mullady, Lysa Illus. by Reed, Kyle Magination/American Psychological Association (32 pp.) $17.99 | Mar. 6, 2019 978-1-4338-2947-5 A colorful trio of birds deals with hurtful gossip (and discovers some new

colors).

Red, Yellow, and Blue sit on a wire, chirping about the day.

When Red and Yellow fly off to find some food, Blue turns understandably sad. The arrival of two new birds, Violet and Green, lifts Blue’s spirits. But still hurt, Blue lies, telling Violet and Green that Red has criticized Yellow; Violet and Green fly away to verify this rumor. Now Blue feels guilty, worse than ever. Green spies Orange, playing in a birdbath, and flies down to deliver the news. Meanwhile, Violet encounters Pink and shares the story. When all these birds find and confront Red, who denies it, they decide to visit Blue to learn the truth. Red and Yellow and Violet and Green and Orange and Pink and Blue all sit quietly on a wire, waiting to see what will happen next.

After a couple of evasions, Blue comes clean, admitting that he lied. Red is very angry but holds his temper. He asks Blue why he lied, and, when he realizes that Blue’s feelings were hurt, Red apologizes. So does Blue. Seven chirping friends sit on a wire.

Mullady’s valuable lesson sneaks up on readers, delivered with appropriate gentleness. Reed’s cute birds are right in line. An afterword discusses hurt feelings, conflict, and gossip.

Genuinely sweet. (Picture book. 3-5)

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THE MOZART GIRL

Nickel, Barbara Second Story Press (120 pp.) $10.95 paper | Mar. 18, 2019 978-1-77260-089-6 On their grand tour of Europe, esteemed 12-year-old musician Nannerl Mozart begins to challenge the social limitations that exclude her from the professional opportunities her younger

SKATEBOARD SIBBY

O’Connor, Clare Second Story Press (160 pp.) $10.95 paper | Mar. 18, 2019 978-1-77260-087-2 Sibby, a talented skateboarder, must move after her father loses his job.

Moving would be hard enough, but she’s broken her skateboard, and without one, she’s bereft and seething with frustration and anger at the unwanted changes in her life.

Shortly after she arrives in her new home, a bullying skateboarder, Freddie, mocks Sibby and her new almost-friends then challenges her to a skateboarding duel, mostly to embarrass her. If she loses—and she’s unwilling to not accept his challenge—she has to give him her cool skateboarding shoes that she won in a competition. After his grandfather dies, the other kids sagely realize that his long illness may account for Freddie’s increasingly bad behavior. When the skateboarding |

SOME DAYS

Orloff, Karen Kaufman Illus. by Chen, Ziyue Sterling (40 pp.) $16.95 | Feb. 5, 2019 978-1-4549-2620-7 We all have our good days and bad days.

Two children, one cued as a girl and the other as a boy, navigate the ups and downs of everyday emotions. “Some days are chocolate pudding pie days. / Kites up in the sky days. / Jumping super high days.” Each double-page spread is narrated in similar rhyming triplets and is brightly illustrated with cartoon stylings that are dedicated to celebrating simple joys. There are a few extraordinary experiences—“Some days are picking out a pup days,” in which the children are at an adoption center, literally dog-piled by adorable puppies—that cause the rhyme to spread out over multiple spreads. The primary focus, however, is on emotions commonly experienced at school, home, and other public places. More importantly, it acknowledges that “Some days are feeling kind of mad days,” in which the girl scribbles angrily with crayons, and “Feeling all alone days,” which shows the girl sadly curled up in bed with her bunny. Unfortunately, “Sorry to be bad days” supports the notion that a child (rather than a deed) can be “bad.” The title concludes with “Learning to be me days,” signaling that these emotions are ongoing and natural. The girl has pale skin and long black hair in pigtails, while the boy has brown skin and tightly curled black hair. Whether they are neighborhood friends or siblings in a multiracial family is unclear.

An imperfect read-aloud that celebrates the spectrum of a child’s experiences. (Picture books. 3-6)

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brother, Wolfi, enjoys.

Told from Nannerl’s youthful third-person-limited perspective supplemented by fictionalized diary entries and letters, the novel speculates on the inner life of Mozart’s older sister, a skilled performer in her own right. Readers are swept into the politics and bustle of Europe’s 18th-century music scene as the Mozart family travels from one performance for nobility to the next. Despite her affection for Wolfi, Nannerl can’t help resenting the attention he receives from adults, especially after she shows a renowned composer the symphony she has written and he laughs in her face. While the author’s note reveals several instances that differ from historical records, the novel truly shines in its descriptions of Nannerl playing and composing music, moments when the voice transcends its generic tone: She envisions herself traveling through arrangements of notes as though they were landscapes or painting the notes into the air colored by her emotions and memories. Originally published in 1996 as The Secret Wish of Nannerl Mozart, the book has a dated feel in the way it addresses gender stereotypes and dynamics, even within its historical setting. Characters are assumed white.

An engaging though somewhat anachronistic glimpse into the life and mind of a talented young woman sidelined in the annals of history. (chronology, glossary, works cited) (Historical fiction. 8-12)

challenge finally occurs, Sibby has, predictably, gained some insight into her own feelings and those of the others in her group, enabling her both to skate well and to reach out to Freddie. Rich with skateboarding language, it’s the insider view of that culture that sets this effort apart from other tales dealing with bullies. Although Sibby is somewhat three dimensional, other characters lack sufficient development to breathe life into them. Set in Nova Scotia, the book adheres to the white default. Childishly cute cover art makes this appear to be a story for a much younger audience.

An average tale that catches some air thanks to a strong, even “super dope,” skateboarding theme. (Fiction. 10-12)

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SUNNY’S TOW TRUCK SAVES THE DAY!

Pace, Anne Marie Illus. by Lee, Christopher abramsappleseed (24 pp.) $14.99 | Mar. 5, 2019 978-1-4197-3191-4

A family is just setting out on a family picnic when, wouldn’t you know it? Their plans are foiled by a flat tire!

So they call for a tow and wait for help to arrive, and they wait, and they wait, and they wait. It is going to take a little while; it is a busy day for everyone. When Sunny’s Towing finally comes to the rescue, repairs are made, and they are back on the road— only to find out their picnic lunch is long gone. It’s Sunny’s tow truck to the rescue again! Rhyming text makes this engaging story a quick and easy read-aloud to share with preschoolers: “Pack the cooler! / Picnic day! / Nine o’clock. / We’re on our way.”

Those children who love cars, trucks, and things that move will find many details to pore over in this book, which is full of many different types of motor vehicles. Lee’s digital illustrations are bold and colorful; with their sharp edges and simplified faces, they have a commercial look, but by depicting the characters as multicultural, they add depth. The picnicking family is interracial, with a white-presenting mom and a dad and children with brown skin; Sunny is a woman of color. Delightfully, the family passes over Rick’s and Harry’s and chooses the only obviously woman-owned towing business available.

A likable little story that will be a hit at storytimes. (Pic­ ture book. 3-6)

KATT VS. DOGG

Patterson, James & Grabenstein, Chris Illus. by López, Anuki Jimmy Patterson/Little, Brown (320 pp.) $13.99 | Apr. 1, 2019 978-0-316-41156-1 An age-old rivalry is reluctantly put aside when two young vacationers are lost in the wilderness.

Anthropomorphic—in body if definitely not behavior—Dogg Scout Oscar and pampered Molly Hissleton stray from their separate camps, meet by chance in a trackless magic forest, and almost immediately recognize that their only chance of survival, distasteful as the notion may be, lies in calling a truce. Patterson and Grabenstein really work the notion here that cooperation is better than prejudice founded on ignorance and habit, interspersing explicit exchanges on the topic while casting the squabbling pair with complementary abilities that come out as they face challenges ranging from finding food to escaping such predators as a mountain lion and a pack of vicious “weaselboars.” By the time they cross a wide river (on a raft steered by “Old Jim,” an otter whose homespun utterances are generally cribbed from Mark Twain—an uneasy reference) 108

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back to civilization, the two are BFFs. But can that friendship survive the return, with all the social and familial pressures to resume the old enmity? A climactic cage-match–style confrontation before a worked-up multispecies audience provides the answer. In the illustrations (not seen in finished form) López plops wide-eyed animal heads atop clothed, more or less human forms and adds dialogue balloons for punchlines.

A waggish tale with a serious (and timely) theme.

(Fantasy. 9-11)

THE MAGIC BOAT

Pearson, Kit & Farris, Katherine Illus. by Grimard, Gabrielle Orca (32 pp.) $19.95 | Mar. 19, 2019 978-1-4598-1432-5 A shy girl bonds with new friends through the wonders of imagination in this Canadian collaboration.

Ellie spends the summer with her grandmother at the beach.

Too nervous to approach the other children, the young white girl keeps mostly to herself making sand castles and playing in the cool water until, while collecting pebbles, she happens upon Piper, an older girl of color who has a magic boat. Ellie is skeptical at first, but her doubts disappear as Piper takes them out to sea, racing on the water and surrounded by marine life.

Moments later, the girls are flying as the boat turns into a balloon, and they share the sky with several birds and an intrepid ladybug. That is, until Nonna calls the pair to lunch. Pearson and Farris’ prose moves seamlessly from the easy unhurriedness of summer play to the weightier awe of discovery. Grimard keeps visual pace with warm watercolors and pencil-sketched shading and lines that feel light but never fluffy, capturing the dynamic fluidity between real and pretend. The illustrations do, at times, feel as though they are missing some elements mentioned in the text—the emphasis on discovery prompts readers to scour the pages for the wildlife being mentioned, for instance. But an overall and well-developed theme of imagination and connection (even when you’re nervous) far outweighs the small gaps.

Infectiously delightful. (Picture book. 4- 7)

THE POLARSHIELD PROJECT

Pearson, Ridley Illus. by Gonzalez, Ile DC Comics (160 pp.) $9.99 paper | Apr. 2, 2019 978-1-4012-8639-2 Series: Super Sons

The super duo of Jon Kent and Ian Wayne make their middle-grade debut.

The friendship/rivalry of Jonathan Kent (son of Lois Lane and Clark Kent) |

Joffre’s artwork, which appears to be paper collage, visually fills in the rest of the story, and readers can pore over the pages, which teem with details. when you ’re scared

POPCORN COUNTRY The Story of America’s Favorite Snack Peterson, Cris Photos by Lundquist, David R. Boyds Mills (32 pp.) $17.95 | Apr. 16, 2019 978-1-62979-892-9

The subtitle says it all.

Americans eat 4.5 billion gallons of popcorn each year, or 18 times the volume of the Empire State Building. Every year, they eat 200 million boxes of Cracker Jack, that combination of popcorn, peanut, and molasses so many Americans grew up with. Ubiquitous as it is, however, the youngest readers may not realize that popcorn is actually a plant from “the land of wind turbines and flat-as-a-pancake prairie” known as the Corn Belt.

Big, bright color photographs nicely complement the informative text, which details where popcorn is grown, how it is one of four types of corn grown on 90 million acres of land, and that popcorn is not simply picked, shucked, and shelled; the kernels must be processed and dried so they have just the right amount of moisture for popping. A particularly clear explanation of the physics of popcorn is a highlight. The photographs, laid out in a pleasantly varied design, present a diverse cast of smiling children enjoying popcorn. The penultimate spread presents a photograph of a huge ship loaded with containers of popcorn bound for countries all over the world, demonstrating just what big business popcorn is. Additional information is contained in the backmatter, and sources include books for children who might want to read further. |

Solid information and much food for thought. (Informa­ tional picture book. 4-8)

HEY, WATER!

Portis, Antoinette Illus. by the author Neal Porter/Holiday House (48 pp.) $17.99 | Mar. 19, 2019 978-0-8234-4155-6 Portis’ latest picture book is a joyful, lyrical celebration of water.

In it, protagonist Zoe (the name is revealed only at the end of the book) realizes that water is “all around” and discovers it everywhere: in her home, in nature, in her community, and in herself (“sometimes you slide down my cheek without a sound”).

From page to page and, subtly, through the seasons, she engages in a game of hide-and-seek with water’s many states—from ice (“Sometimes you freeze hard as a rock—a rock that floats, / or a rock we can skate on”) to steam (“Water, even when you try to fool me, I know you. You blast and huff. You whistle and puff ”).

Through it all, as she declares at the end, “water, I know it’s you!” Done with brush and sumi ink and then digitally colored, Portis’ bold illustrations undulate on the page—raindrops roar and pour; dwarfing a whale, oceans surge (even on the endpapers). Words describing the different types of water celebrated (“shower”; “puddle”; “fog”) are printed in a large font that harmonizes with the illustrations’ brushy look. The picture book also includes informative backmatter: an illustration of the water cycle, a manifesto to conserve water, and a list of additional resources about water and water experiments. Zoe has brown skin and straight, black hair.

An energetic and literary introduction to water science by the author/illustrator of the award-winning Not a Box (2006). (Picture book. 3- 7)

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and Damian Wayne (son of Talia al Ghul and Bruce Wayne) has led to many silly and thrilling comic-book adventures, most notably in Peter J. Tomasi and Jorge Jimenez’s heartfelt and emotionally honest Super Sons series. Fans won’t find much resemblance here: Pearson has drastically reimagined Damian and Jonathan and moved the story to an alternate timeline with little to offer lovers of DC Comics lore. This is a book designed for newcomers, but it doesn’t make any exciting choices or craft thrilling action sequences to draw readers in. Jon and Damian (now going by Ian) live in a world haunted by the specter of climate change. Superman is dispatched on a mission to retrieve some dust from an asteroid that may help save the Earth. With Superman gone for months Jon is left to attend school in Wyndemere, where he’s quickly drawn into Ian Wayne’s orbit, and the teens bicker as they uncover a global conspiracy and partner with the mysterious Candace, a classmate with secrets that may be relevant. The dialogue is flat, the compositions are bland, and while the colors pop, there doesn’t seem to be much thought to how they contribute to the art as a whole. (Jon presents white; Ian has beige skin; and Candace is black.) The book lurches forward with little dramatic propulsion and ends on an infuriating cliffhanger.

These super sons deserve better than this drab outing.

(Graphic adventure. 8-12)

WHEN YOU’RE SCARED

Poulin, Andrée Illus. by Joffre, Véronique Trans. by Li, Karen Owlkids Books (32 pp.) $17.95 | Mar. 15, 2019 978-1-77147-365-1

Minimal text and retro illustrations tell the parallel tales of a young boy and a bear cub.

Using only nine different words, Poulin’s text repeats for both the boy, on a camping trip with his mother, and the bear cub: “He’s a little scared” shows the boy on a limb that stretches out over the water, his mother waiting below with outstretched arms. On another spread, the words are illustrated with a bear cub on a similar limb above a dumpster. Following pages show the boy and his mother in their campsite and the cub inside the dumpster; both offspring are eating. Then the boy gets a chore: kirkus.com

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The Estonian author/illustrator’s surreal, two-dimensional images, populated with smiling, stylized animals, have a zany matter-of-factness that eases readers into the story. the ear

biking the trash over to the dumpster. “He’s very scared” shows the boy furiously pedaling away from the mother bear, who’s next to the dumpster where her cub is trapped. The humans return to the dumpster together and place a log inside so the cub can climb out. “No longer scared,” mom and son roast marshmallows under the moon, and the bears cuddle together. Joffre’s artwork, which appears to be paper collage, visually fills in the rest of the story, and readers can pore over the pages, which teem with details. The colors and style (especially the giant racing stripes on the mustard-colored pickup) lend the whole thing a retro feel that suits. Mother and son present white.

Conquering fears, helping others, and perhaps a message about wild animals and human garbage—though almost wordless, this book certainly says a lot. (Picture book.

3-8)

BEA’S BEES

Pryor, Katherine Illus. by Peterson, Ellie Schiffer (32 pp.) $16.99 | Mar. 28, 2019 978-0-7643-5699-5 When Beatrix notices that bees have left their hollow-tree nest in her local park, she needs the town’s help to bring them back.

Bea walks to school through the park, where she discovers a nest of active bumblebees in a hollow oak tree. She is fascinated with the tiny creatures, and she visits the tree every day. But one day, the nest is silent; the bees are gone. She asks her teacher about it, but he doesn’t know why bees disappear. She notices the flowers around the oak tree have been cut down. She asks the school librarian, who helps her find books about bees. She learns all about bees—what they eat, how they pollinate, and what kinds of foods would stop growing without them—and that information is shared with readers. Bea makes a plan. In early spring, she plants wildflowers around the tree. She does her science report on bees, and she hands out seeds at school.

Seedlings sprout all over town, and finally the bees return. The illustrations, which depict Bea as black, are colorful but largely redundant of the text. An endnote in small font and scientific language is appropriate for older readers, and the final page of labeled wildflowers is a lovely and useful finish. The story is paced well, and Bea is likable enough, but the book’s design lacks professional polish.

This well-intentioned effort falls short. (Picture book.

6-10)

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GOLDILOCKS AND THE THREE RHINOS

Rankin, Joan Illus. by the author Crocodile/Interlink (32 pp.) $17.95 | Mar. 12, 2019 978-1-62371-916-6

An old tale with a new facade.

In this unusual version of the familiar tale, Goldilocks, in fact, isn’t (she has beaded black hair that sticks straight up), and the bears are rhinos—perhaps because Rankin is South African, and South Africa does have rhinos but no bears. Her anthropomorphic beasts walk upright and yet reinforce traditional gender stereotypes: Papa is gentle with his kid but angry at the intruder; Mama is surprised and fearful; Baby whines loudly, emphasized by the one-word-per-line text that increases in font and frequency of exclamation points as he frets. Had Rankin capitalized on the differences between rhinos and bears (horns vs. no horns; herbivores vs. omnivores; thick skin vs. hairy pelt) to alter the story, this could have been a clever retelling. Instead, the beautiful, detailed illustrations, which have the look of ink and watercolor, far outshine the story, offering a lively picture of the rhinos’ home, with plenty of white space to inspire readers’ imaginations. Most troubling, though, is brown-skinned Goldilocks’ beaded hair; if this is an attempt to cast her as a child of color—thereby spinning it as a multicultural story—even that falls short since beaded hair goes down, not up, making Goldilocks’ hair quite a curiosity.

A visually pleasing revision of a story that will make readers long for the bears. (Picture book. 4-8)

THE EAR

Raud, Piret Illus. by the author Thames & Hudson (32 pp.) $14.95 | Feb. 5, 2019 978-0-500-65163-6 A disembodied ear suffers an existential crisis.

Readers never learn how the ear became separated from her head, though frontmatter images of a white man with a red beard, a vase of sunflowers, and a wooden chair with cane seat provide clues to readers familiar with art history. But van Gogh is not the point. The point is that with no head attached, “I am no one,” the Ear weeps. But then a doleful frog asks if he can sing for her, which cheers them both up.

She goes on to listen to an elephant’s story and a hare’s confession (she ate a snowman’s nose). Pretty soon, the Ear has earned a reputation as “the best listener in the land.” Then a spider comes “with a voice as sweet as honey” to whisper unkindnesses as it spins its web around the Ear. But with a “Chomp!” the frog dispatches the spider, and they all live happily ever after. Raud’s little tale is about as weird as they come, and the Ear’s staring eyes are more than a little unsettling. But the Estonian author/ |

illustrator’s surreal, two-dimensional images, populated with smiling, stylized animals, have a zany matter-of-factness that eases readers into the story. Characters perch on the horizon line, strong verticals and horizontals combining with rounded corners to convey stability, while swirling interior lines hint at emotional complexity.

This quirky affirmation of the value of listening will have readers thinking. (Picture book. 4-8)

PICTURE THE SKY

Reid, Barbara Illus. by the author Whitman (32 pp.) $16.99 | Mar. 1, 2019 978-0-8075-9525-1

TREE OF DREAMS

Resau, Laura Scholastic (336 pp.) $17.99 | Mar. 26, 2019 978-0-545-80088-4

Young chocolatier Coco searches for an ancient Amazonian tree on a lifechanging, magical trip to Ecuador.

Thirteen-year-old Coco Hidden’s heart hurts. She loves El Corazón, the bean-tobar chocolate shop her mother owns in the fictional Colorado town of Heartbeat Springs. But ever since Donut Delite opened across the street, business has plummeted so much Coco’s mom may have to close the shop. Meanwhile, |

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Adults and children alike perform their daily activities under vast and varied skies.

Why is the sky blue? This perennial question often asked by young children may be resolved (or at least dodged) as children learn that the sky is not always blue. It is “an ever-changing, always open, everyone welcome art gallery.” Alongside the tantalizing Plasticine art that Reid is known for, she asks, “How do you picture the sky?” And in a series of short sentences, she invites readers on a tour of the sky in all its iterations: at sunrise, when “It can be...the curtain rising on your day”; at sunset; on a sunny, cloudless day; peeking out between trees or the tall buildings of a cityscape where “it can slip into the background.” And on days of low-lying fog it “can play hide-and-seek.” Some see castles in the clouds, polar bears in the constellations, or figures dancing in the northern lights. “You may find a story in the sky.”

Although the art is not as joyously unbridled as in her companion book on trees (Picture a Tree, 2013), colorful, multidimensional images depict diverse children (about half present white and half as children of color) as they take pleasure in the sky and realize that “there is more than one way to picture the sky.”

In this aesthetically pleasing homage, Reid obliges young readers to contemplate the sky in all its not-alwaysblue expansive magnificence. (Picture book. 2-5)

Coco’s former best friend, Leo de la Cueva, is ignoring her in favor of “seventh-grade royalty,” and he even competes against her in a dessert contest to win a weeklong trip to the Amazon.

Coco wants to win because she’s dreamed repeatedly of a ceiba tree that speaks to her, promising treasure that could save El Corazón. Providentially, they tie for first. When Coco (who’s white but fluent in Spanish) and Leo (who’s of Mexican descent), along with their moms and elderly Spanish friend Gali travel to Ecuador’s rainforest, they stay in a remote Huaorani village, befriend Isa and her family, and discover that the community as well as the ceiba trees are endangered by greedy logging and oildrilling enterprises. Resau once again blends the magical (the ceiba tree also narrates chapters throughout the story) with the contemporary in this well-researched and beautifully told tale that encourages readers to advocate for Indigenous and environmental causes.

A moving exploration of friendship, activism, and how chocolate makes everything better. (author’s note, language note) (Fiction. 8-13)

Reynolds, Shauna LaVoy Illus. by Maydani, Shahrzad Dial (32 pp.) $17.99 | Mar. 19, 2019 978-0-399-53912-1 A little girl enjoys writing poems and gets an unexpected surprise when she writes a poem and gives it to a tree, making “the world more splendid.”

Sylvia marks the end of winter with a poem about springtime. After reading it to a squirrel, she ties it to a tree (“hoping that it didn’t count as littering”). When she passes the tree on her way to school the next day, she finds a surprise—another poem on the tree. “She never imagined the tree might write back.” Sylvia continues to write poems to the tree and waits to find the next poem. When she realizes a teasing classmate, Walt, is the author of the other poems, she is sad: “Had the tree she loved so much not given her a thing?” Not too unsurprisingly, the two poets become friends, harmoniously trading rhymes beneath the tree that has brought them together. Using precise, intelligent prose, Reynolds captures moments of a child’s innocence: “ ‘So what’s your name?’ Sylvia asked the tree. But the tree stood in silence. ‘Are you shy like me?’ The tree nodded in the breeze. Sylvia understood.” Maydani’s delicate, pencil-andwatercolor paintings, suffused with spring pastels, affectionately invest Sylvia (who has brown skin), Walt (who presents white), and even the tree with personality.

A sweet and quiet homage to friendship, nature, and the power of words and poetry. (Picture book. 4-8)

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GLORIA TAKES A STAND How Gloria Steinem Listened, Wrote, and Changed the World

Rinker, Jessica M. Illus. by Peoples-Riley, Daria Bloomsbury (48 pp.) $17.99 | Mar. 12, 2019 978-1-68119-676-3

A tribute to feminist icon, activist, and writer Gloria Steinem.

Several spreads cover Steinem’s childhood, with details loosely connected to the narrative. She challenged genderbased assumptions starting with her decision to go to college, where she loved the “ideas, books, and discussions about everything!” After graduation, instead of looking to marry and start a family, she traveled and wrote in India, where she listened to people talking through their problems. When she returned to the United States and looked for a job, instead of settling for work as a secretary or a teacher, she became a journalist and continued to listen to people and write. Her decision to attend and cover the March on Washington, her decision to co-found Ms. Magazine, and her organizing to become a leader of the women’s liberation movement are framed as natural outgrowths of her desire to listen and create space for people to be heard and to demand equal rights. The paragraphs can be dense, but the design often uses quotes by Steinem and a series of short sentences in display type (“Gloria believed. She marched. And dreamed”) to highlight a given spread’s main points. The illustrations, done in soft, natural colors, place the white feminist beside or in front of ethnically diverse groups of people.

The Ms. Magazine covers lining the endpapers promise an engaging read, but the rambling text may leave young readers uninspired. (author’s note, illustrator’s note, timeline, bibliography) (Picture book/biography. 8-12)

WATCH OUT FOR WOLF!

Rissi, Anica Mrose Illus. by Santoso, Charles Disney-Hyperion (32 pp.) $17.99 | Apr. 16, 2019 978-1-4847-8556-0

Five little piggies watch out for the wolf...but not for the reason readers might expect.

Piggle, the first pig, sets out for the store to buy the ingredients for a cake. Piggleton, the next little piggy, stays home to wrap boxes and blow up balloons. Wolf is spotted outside, and the pigs inside quickly close the blinds. Third piggy Piggit hastens through the woods delivering invitations. Owl warns that Wolf has passed by recently. Piggums, the fourth little piggy, keeps lookout from the roof, and the smallest, Pigbert, cries: “Wee wee wee! Everybody hide!” Wolf arrives, and, as readers will have surely surmised, the pigs and other animals gathered within shout, “SURPRISE!” It’s Wolf ’s birthday. The 112

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huffing and puffing is all aimed at candles. Rissi’s conceit will be guessed by all but the youngest listeners long before the reveal. Santoso’s colorful, soft-edged cartoon illustrations are pleasing if compositionally busy. The slightly muted palette depicts five expressive piggies who look far more distinct than their confusingly similar names would indicate. Both the baroque names and sophisticated compositions go to war with the transparency of the plot, making it hard for this book to reach its most natural audience of older toddlers just graduated from nursery rhymes.

Readers’ satisfaction at spotting Wolf here and there and guessing the twist might enhance the first read, but that may not be enough to have them demanding rereads.

(Picture book. 2-4)

I THINK I CAN

Robbins, Karen S. Illus. by Brunson, Rachael Schiffer (32 pp.) $14.99 | Mar. 28, 2019 978-0-7643-5691-9 Aardvark sings a surprise song for their buddy, Mouse.

Hands on their hips in what may well be an attempt to assume the power stance, Aardvark begins with a statement: “I think I can.” On the next page, quizzical Mouse—arms crossed and one eyebrow raised—repeats the phrase as a question: “You think you can?”

The two volley similar sentences back and forth in this repetitive pattern. After a few rounds, Aardvark reveals that what they think they can do is sing. Then Aardvark builds anticipation for their song by declaring it a surprise. From that point, the formula more or less flips, and Aardvark fields Mouse’s questions (“Do I have to hide my eyes?”), posed on recto, in the negative after the page turn (“No. You must look at me”). The dialogue is color-coded (blue for Aardvark, black for Mouse) so that the speakers are clearly differentiated. The difference in height between the two animals and, thus, above-head text placement creates additional visual matching. The small word count (just over 50 words and their variants) and short sentences build in further supports for emerging readers. Set against a white background, Brunson’s cartoony characters appear in the same position from page to page and vary only in expression. An opening note suggests that the book be read by a pair of readers who each take on a character’s lines and share the reading experience.

A well-structured and deceptively simple dose of encouragement for emerging readers. (Early reader. 5- 7)

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A fearless use of white space and an utter disregard of conventions of direction encourage readers to engage with the physical book as the story unfolds. another

ANOTHER

Robinson, Christian Illus. by the author Atheneum (56 pp.) $17.99 | Mar. 5, 2019 978-1-5344-2167-7

DOCTOR ESPERANTO AND THE LANGUAGE OF HOPE

Rockliff, Mara Illus. by Dzierzawska, Zosia Candlewick (40 pp.) $16.99 | Mar. 12, 2019 978-0-7636-8915-5

Leyzer Zamenhof hated war and conflict.

He lived in late-19th-century Bialystok (then part of the Russian Empire), where a diverse, distrustful population spoke many languages. He believed that a common language could bring everyone together, so he began the task of inventing that language. His first attempts were failures, lacking predictable patterns. Adjusting words that already existed worked better, especially those that had similar construction or sounds and could be put together in a logical structure. But while he was studying medicine in Moscow, his early work was destroyed.

With his wife’s help, he began again, revising and refining his concepts. He signed his work “Dr. Esperanto,” his language’s word for “one who hopes.” Eventually, a large group of followers from all over the world came to love this language of peace and honor the person who created it. Rockliff recounts the events simply, focusing on insights into Leyzer’s motives and processes |

A BEAUTIFUL DAY IN THE NEIGHBORHOOD The Poetry of Mister Rogers Rogers, Fred Illus. by Flowers, Luke Quirk Books (144 pp.) $19.99 | Mar. 19, 2019 978-1-68369-113-6

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A young child discovers a portal to a whole other plane of perspective in Robinson’s latest.

In the dark of night, a portal opens in a small girl’s bedroom, the light attracting her cat. When the curious feline crawls through to chase another cat that looks just like it (but with a different color collar), the little girl cannot help but follow as well. Through the portal, the world goes topsy-turvy—up is down, right is left, and color and shape capriciously collide as the ever smiling girl and her cat move from plane to plane. The duo eventually happens upon other children, all playing with alternate versions of themselves, and after a few page turns, our protagonist—a girl of color with black, beaded braids—spots her alternate self as well. The pair share a few meaningful moments, exchanging smiles and cat toys, until eventually each returns to her bed with the small promise of further adventures to come. The simple geometry of Robinson’s work comes alive in this expanse of wordless narrative. A fearless use of white space and an utter disregard of conventions of direction encourage readers to engage with the physical book as the story unfolds, touching and turning it as they literally take the narrative into their hands.

A bright, open primer for Escher. (Picture book. 2-5)

in the construction of Esperanto vocabulary, but much is omitted from the primary narrative. Material in the afterword more clearly explains the development of the language and further relevant details about Zamenhof, including the fact that he was a Jew. Dzierzawska’s digitally assembled pencil-and-ink illustrations complement the text and depict time and setting, also providing visual mapping of vocabulary development. The languages that Zamenhof used as a base for Esperanto are never named in the text or labeled in the illustrations, nor, frustratingly, are the Esperanto phrases translated.

Unusual and fascinating but flawed. (sources) (Picture book/biography. 8-11)

A collection of the lyrics to 75 songs composed by the beloved children’s-television personality.

Readers and listeners who’ve heard these words sung by their creator seem likely to be the most appreciative audience for the earnest messages, lighthearted flights of fancy, and familiar phrases found in the poems gathered here. Caregivers may wish to search out a specific song to introduce (or reinforce) a discussion about a typical childhood experience or difficulty.

Poems encouraging a strong sense of self abound, as do those that reassure young children that they can manage their emotions as they continue to learn and grow. Because of the thematic emphasis on healthy development, however, this is more a resource than a collection that would invite casual browsing.

Unfortunately, without the melodies, some of the poems lack obvious rhythm. And, as songs often do, some feature repeating phrases or verses. Both of these factors further weaken the book’s potential appeal as a general poetry collection. Flowers’ illustrations are energetic and feature characters from the iconic television show as well as vignettes of young children and spot drawings of everyday objects. The pictures tie the collection even more closely to their source and may spark some interest, but they do little to extend or expand the meaning of the text.

This interesting attempt to make Mr. Rogers’ wisdom broadly accessible may wind up mainly reinforcing the importance of his presence to its success. (index) (Poetry. 3-8)

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The illustrations are extraordinary. Abolafia has simplified the characters’ anatomy to a few basic, lovely strokes of the pen. the golden bell

SERGIO SEES THE GOOD The Story of One Not So Bad Day Ryden, Linda Illus. by Malone, Shearry Tilbury House (32 pp.) $16.95 | Feb. 5, 2019 978-0-88448-731-9 Series: Henry & Friends

A story meant to encourage readers to focus on the positive things in their lives.

When Sergio arrives home, droopy eyes and an equally droopy face tell his mood. His day has been “Terrible!” In fact, “It was a completely awful day.” It turns out he dropped his lunch tray and his food went everywhere. Mom is not so sure his whole day has been terrible and to prove it suggests an activity involving a scale and a jar full of marbles. As Mom has him rewind the day and remember everything that happened, Sergio places a marble on the “good side” for everything good that happened and one on the other side for everything “bad.”

By the time they’ve finished it is clear the “good” side of the scale has outweighed the “bad.” Sergio concludes, “It was actually pretty great!” This mindfulness lesson, told in accessible language and using familiar scenarios, does not feel preachy.

Mom and the author (in a note that follows the story) both go on to explain “the negativity bias,” a double-edged sword our brains use to keep us safe, “but sometimes it can make us think that life isn’t as great as it really is.” Sergio and his mom are portrayed with brown skin, his father is white, and his school friends are multiracial.

Provides readers with an easy-to-replicate method that will help them put bad days and experiences in perspective.

(Picture book. 5-10)

THE GOLDEN BELL

Sachs, Tamar Illus. by Abolafia, Yossi Trans. by Wellins, Nancy Kar-Ben (24 pp.) $17.99 PLB | Mar. 1, 2019 978-1-5415-2612-9 This Israeli import may set a new record for delayed gratification.

For a little while, the book feels like a story with no ending: In ancient Jerusalem, a tailor is mending a robe for the High Priest. His son, Itamar, notices that the robe is missing a bell on its hem and searches for it all over the city, but he never finds it. That seems like the place where the story has to end. A bell from Biblical times can never be replaced. But the final page of the book introduces a young archaeologist who, in 2011, spots something “gleaming in the dirt in an ancient drainage ditch.”

Some readers will be frustrated by the delayed ending. It takes the resolution completely out of Itamar’s hands. But Itamar seems more bemused than distraught. The closing pages of the 114

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story show him as a gray-haired man, telling his children about the bell that was “lost and never found.” Philosophical readers may take this as an important lesson: Don’t hold on too tightly to the things you’ve lost. And the illustrations are extraordinary.

Abolafia has simplified the characters’ anatomy to a few basic, lovely strokes of the pen, and he’s chosen a remarkable variety of browns to represent the range of people in the Middle East.

Some children will demand a more traditional ending, but readers with a contemplative nature—or at least a sense of humor—will be more than satisfied. (Picture book. 4-9)

THE CHICKENS ARE COMING!

Samuels, Barbara Illus. by the author Farrar, Straus and Giroux (40 pp.) $17.99 | Mar. 12, 2019 978-0-374-30097-5

Raising chickens has become a popular hobby in urban areas where some people have small backyards.

Winston and Sophie, younger brother and older sister, live in such a community. When their mother spots a sign offering five fowl of different breeds, they adopt chickens delightfully named Dawn, Divina, Daphne, Delilah, and Desirée. Sophie announces the news at show-and-tell, and Winston does the “Chicken Dance” on a crowded city bus, yelling “THE CHICKENS ARE COMING TOMORROW!” The siblings are ready to collect eggs, but there’s nary an egg in sight. The kids put on a play, provide music and stories, anything to “get them in the mood,” but nothing happens. They begin to interact with the chickens, learning their habits, a process depicted in eight circular vignettes on a double-page spread. When the children finally discover eggs, Sophie explains that different breeds lay eggs of varied colors and sizes. The brightly colored, amusingly detailed, naïve illustrations depict a white family, but there are diverse people at school, on the bus, on the street, and in their building. From “Sophie’s Chicken Chart” on the last page, readers can learn that Daphne, with her pouf of white feathers (Winston thinks it’s a hat) is a Polish breed chicken, actually from the Netherlands, and other facts. An author’s note provides resources on raising chickens.

A very enjoyable read-aloud for would-be urban farmers and kids just needing a good laugh. (Picture book. 5- 7)

LIKE A LIZARD

Sayre, April Pulley Illus. by Laberis, Stephanie Boyds Mills (32 pp.) $17.95 | Mar. 12, 2019 978-1-62979-211-8 Can you behave like a lizard?

Using a series of rhythmic triplets followed by two-syllable lines, Sayre invites young readers and listeners to imagine being |

CAN YOU CRACK THE CODE? A Fascinating History of Ciphers and Cryptography Schwartz, Ella Illus. by Williams, Lily Bloomsbury (128 pp.) $21.99 | Mar. 26, 2019 978-1-68119-514-8

Hands-on history for budding spies, hackers, or anyone with a secret message to send.

Though she starts off with a face-plant—a vague claim, with a disappointingly stereotypical illustration, that “the ancient Chinese” had couriers swallow secret messages written on silk—Schwartz goes on to offer a broad and lucid survey of cryptographic strategies. These range from steganography and substitution ciphers to second factor authentication and other recent trends in cybersecurity. She also provides plenty of variously coded examples for readers to decipher as practice, capped by a final challenge to go back and find the clues to a secret message that have been distributed throughout. Her detailed description of how the German Enigma machine worked (and was hacked by the Bletchley Park group in World War II) is indeed “fascinating,” as are the close analyses of still-unsolved messages such as the modern Kryptos inscription outside CIA headquarters. Somewhat less fascinating are the closing chapters, in which she does explain how prime numbers figure in securing internet communications but neglects to mention the possibilities of quantum cryptography and leaves a debatable impression that cyber defenses have been generally successful in staying ahead of “black hat” hackers. Williams adds a diverse group of spot-art figures to go with the array of tables, diagrams, and occasional photos. |

A serviceable if too-often superficial update for solid but now-dated histories such as Gary Blackwood’s Mys­ terious Messages (2009). (index, source list) (Nonfiction. 10-13)

THE BAND OF MERRY KIDS

Skuy, David DCB (196 pp.) $13.95 | Apr. 1, 2019 978-1-77086-533-4

Where is Robin Hood when you need him? Closer than you think.

Admiration for his hero earned Pip, 12, the nickname “Baby Robin,” a source of both pride and chagrin—he’s yet to hit a target with his bow and arrow. Pip’s cousins Lucy and Harold support him even when pride causes Pip to lose his penny in a contest. The children of wool merchants in 12th-century England, they wish Richard the Lionheart would return to oust Prince John, but only Pip is foolhardy enough to provoke the local baron’s men, brushing off warnings to be careful in dangerous times—after all, Robin Hood wouldn’t stand by as innocent peasants are beaten and starved. Accompanying his father to the Bradford Fair offers new opportunities to emulate his hero. There, Pip talks Harold and Lucy into a daring exploit that goes awry. Averting disaster requires effort, ingenuity, and new allies. Like the word “kids” in the title, the children’s dialogue skews contemporary (“okay” and “yeah, I guess”), an effect that’s exacerbated by the insufficiently detailed setting. Characters, all seemingly white, are heroes or villains. Even readers familiar with the folk hero’s mythology will be perplexed by Pip’s repeated contests with and taunting of the powerful, who can and do crush those he wishes to defend. Conflicts are easily resolved, lessons tidily learned.

Intermittently exciting despite a far-fetched plot and slapdash execution. (Historical fiction. 8-11)

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a lizard. “Would you lunge like a lizard? / Sponge like a lizard? / Chew bugs like a lizard? / Mouth mash?” (A final page reminds readers to “Be you!”) Once the reader-aloud masters the form, this text would be a delight for storytime, encouraging imitation. Laberis used digital media to create reasonably accurate paintings of the one (occasionally two) lizard that performs the behaviors described, often with a bit of natural background.

Each animal shown is clearly labeled with its common name.

These 28 lizards are described more fully in short paragraphs keyed to the behavior depicted and headed with the common name, Latin name, usual home, and length in the backmatter.

Various expert herpetologists are credited with scientific review of this appealing work by nature-lover Sayre. Some pages include other animals: The opening spread shows an American badger chasing a six-lined racerunner, and the last shows a greater short-horned lizard defending itself from a coyote.

These lizards come from around the world; they vary amazingly in shape, size, and habitat. Suggested further resources include both books and websites.

An appealing invitation to look more closely at the world of lizards and a welcome addition to a nature shelf.

(Informational picture book. 4-8)

DARING DOZEN The Twelve Who Walked on the Moon Slade, Suzanne Illus. by Marks, Alan Charlesbridge (48 pp.) $17.99 | Mar. 5, 2019 978-1-58089-773-0

Fifty years after the first moon landing, a solemn commemoration of the Apollo 11 to 17 missions.

Taking poetic license—she includes nods to the astronauts who remained in lunar orbit and also those aboard the nearly disastrous Apollo 13, so naming 21 in all—Slade briefly describes in present tense each mission’s discoveries and highlights, then goes on in a separate section to offer expanded fact summaries about each, along with describing the Apollo rockets and kirkus.com

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vehicles. Marks’ impressionistic views of our remote satellite (“A quiet place where / no wind blows, / no water flows, / no life grows”) seen from Earth and of heavily burdened astronauts bounding across grayish-brown moonscapes beneath deep, black skies give way in the second section to small photos, including group portraits of each (all-white and -male) crew.

Though aimed at a younger audience than her Countdown: 2979 Days to the Moon, illustrated by Thomas Gonzalez (2018), this history takes up where that one leaves off and so works equally well as a stand-alone tribute to the Apollo program’s achievements or as a lagniappe.

An inspiring reminder that there are footprints on the moon, addressed to readers who may one day leave some of their own. (timeline, source notes, bibliography) (Infor ­ mational picture book. 7-10)

MR. PENGUIN AND THE LOST TREASURE

Smith, Alex T. Illus. by the author Peachtree (208 pp.) $16.95 | Apr. 1, 2019 978-1-68263-120-1 Series: Mr. Penguin, 1

Aspiring adventurer Mr. Penguin solves his first mystery with the help of an earnest crew in this quirky, sharply illustrated chapter book.

When Mr. Penguin receives a frantic phone call from Bouddica Bones, owner of the Museum of Extraordinary Objects, the clumsy, bow tie–clad novice adventurer ejects himself from his office trash bin and dashes to the museum with his companion spider, Colin. The mission is standard expedition fare: find treasure that’s been buried in the museum in order to save the dilapidated institution. From this early moment, Smith crafts a Rube Goldberg–style plot, with chapters dangling readers over the next twist in the magical, cavernous museum basement.

Bouddica and her brother, Montague, are described comically and drawn as white, and the only character of color, Edith, lives “in the park” with a pigeon named Gordon. While Edith is instrumental in saving the day and is rewarded by Bouddica, Mr. Penguin and Colin are the ones who receive formal praise in the city newspaper, reinforcing dominant race, gender, and class norms. Also irritating is the fact that Antarctica-native Mr. Penguin lives in an igloo. A plot twist and strategic pops of orange among detailed drawings are sure to pull readers along, as chapters are broken up by images and color.

For fans of the author’s Claude series who are looking for a longer chapter book. (Mystery. 8-12)

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BETWEEN THE WATER AND THE WOODS

Snaith, Simone Illus. by Kipin, Sara Holiday House (320 pp.) $17.99 | Mar. 19, 2019 978-0-8234-4020-7

Village girl encounters magic, heads to the big city, and meets a handsome knight and steam-carriages.

Sixteen-year-old Emeline lives in a village so small and remote that they don’t even use money, but when she and her brother spot an Ithin, a legendary Dark Creature, they, along with their widowed father, a neighbor, and a stowaway, head to the capital: The law requires they report the sighting to the king in person. Along the way they meet a Lash Knight and become embroiled in the philosophical and political feud between Sapients and Theurgists. Lovely illustrations from Kipin (The Language of Thorns, 2017) elevate this debut but don’t make up for the nonexistent plot (mostly conversation and sightseeing) or the haphazard worldbuilding. Technology ranges from nonexistent to programmable automata; silver is used for bullets and any number of other uses for which it’s likely too soft; magic runs in the Keldare people, but at the same time anyone can join the Keldare. Imagination is on full display, but multiple threads compete to be the central seam, to the detriment of narrative flow. Note that the art depicts Emeline as darker-skinned and love interest Reese lighter; the text focuses mostly on fashion and finance, not skin tone, although some variation is implied.

Original but too sloppily executed for success. (Fantasy.

11-14)

HOW TO TWO

Soman, David Illus. by the author Dial (40 pp.) $17.99 | Mar. 19, 2019 978-0-525-42784-1 From the co-creator and illustrator of the Ladybug Girl books comes a joyful exploration of a day at the playground, where a young child finds new playmates and shares new activities in almost every spread until one has become 10 and it’s clear that all are welcome to play.

Sparse text—the words “How to” followed by a number with occasional changes in punctuation—and subtle illustrated details offer multiple opportunities for readers to practice counting from one to 10 on each spread: The back endpapers explicitly ask readers to “find the critters,” while the spine depicts 10 running silhouettes, and the book’s jacket back depicts child hands of many shades indicating numbers.

The text’s pacing and layout at times feel a bit forced when it extends the patterned “how to...” lines across more than one |

This authentic and charming comic offering is both eye-catching and accessible with its cheery plotlines and emphasis on friendship. mystery club

double-page spread, but overall the pacing is balanced, especially in the gorgeous wordless full-bleed spread that depicts all 10 children playing after the rainstorm before parting ways. Perhaps most valuable, however, are Soman’s thoughtful, diverse depictions of the children and families (an interracial two-dad family; several solo older caregivers; an older sibling; a brownskinned woman in a headscarf) through a range of skin and hair color, clothing, and gender presentations. Meanwhile, the young child and their mother, whose story grounds the book, appear to be white.

No two ways about it—this one is a delight. (Picture book.

3-8)

THE SPACE BETWEEN BEFORE AND AFTER

A boy struggles to make sense of his mother’s disappearance in this meditative middle-grade novel.

Ten-year-old Thomas’ mother has for years experienced what his family refers to as her feeling “sad, tired, low...blue”—but never naming her disorder as depression— before she surprises him one morning with a vivid description of a dream she’s had of being at the airport, preparing to board a plane. When Thomas returns from school that afternoon, she has vanished, and Thomas and his father and aunt spin into a realistically all-consuming confusion. Short, slowly paced chapters from Thomas’ first-person point of view form the main narrative, interspersed with an invented fairy tale he imagines with his kind, elderly Hungarian neighbor, Mrs. Sharp, who as a girl was separated from her father during World War II. Though in anguish, Thomas is supported by many, including his (at times overly) exuberant friend Giselle and Aunt Sadie, who along with Mrs. Sharp help his father understand that his disapproval of anything fanciful is harming his son’s ability to contend with the darkness in his world. All of the characters seem to be white by default, and though the story is set in the present, its quiet tone has the feel of the historical at times.

A poignant, earnest story of grief and hope for fans of realistic fiction. (Fiction. 9-12)

Translated from the original German into English and brought to the U.S. by a Spanish publisher, author/illustrator Steinitz’s picture book tells a story of a town populated by people who look just like their dogs—with two exceptions.

Leonora, a full-bodied, opera-loving lady in a dress with blue swirls, owns Fidelio, a skinny orange dog, and Carmelo, a skinny man with orange hair and suit, owns Pistachia, a rotund blue-swirled dog. Fidelio, like Leonora, loves the opera and “sings” to it, while Carmelo loves making chocolate bonbons, which Pistachia loves to eat (a note on the title page cautions readers that chocolate is not good for dogs). Alas, because Leonora and Carmelo don’t look like their dogs, the townspeople mock them. When they accidently meet, they think they’ve found the solution: trade dogs so they match.

But all four are miserable until they come up with their own independent-minded solution. Steinitz’s illustrations are rendered in warmly saturated hues and printed on stone paper.

Myriad visual cues (palm trees, Moorish architecture, shop signs) exude a distinctly Spanish town ambiance while other details (a portrait of Beethoven, composer of Fidelio, hangs on Leonora’s wall) enhance the story. All people shown are lightskinned with the exception of one dark-skinned child, who is portrayed with enlarged lips. Although the illustrations and story are accomplished, there are two unfortunate typos in which “where” is incorrectly used for “were.”

Filled with ambiance-saturated illustrations, this clever story delivers a lighthearted take on the “be yourself” theme. (Picture book. 4-10)

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Stauffacher, Sue Margaret Ferguson/Holiday House (288 pp.) $17.99 | Mar. 19, 2019 978-0-8234-4148-8

WHO CARES!

Steinitz, Barbara Illus. by the author Trans. by Prigann, Aisha Cuento de Luz (26 pp.) $16.95 | Mar. 5, 2019 978-84-16733-34-7

MYSTERY CLUB

Steinke, Aron Nels Illus. by the author Graphix/Scholastic (160 pp.) $18.99 | $9.99 paper | Feb. 26, 2019 978-1-338-04774-5 978-1-338-04773-8 paper Series: Mr. Wolf ’s Class, 2 In this next installment in the graphicnovel series, fourth-graders become schoolyard sleuths.

Even though it is populated with a menagerie of animal characters, Mr. Wolf ’s fourth-grade class’s routine is easily recognizable: There are myriad classroom interruptions, spills, hallway lines, and recess shenanigans. Three classmates—Randy, a pastel pink cat; Margot, a chocolate-brown bunny; and hijabi Aziza, a lavender duck—decide to form a mystery club and vow to find

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Using broad, fluid brush strokes, Pavlović loosely spreads luminous washes of color to create moonstruck nocturnal scenes. moon wishes

missing playground balls, learn what happened to a beloved teacher, and ascertain whether a bathroom is haunted. As the girls work through solving their cases, the final conundrum culminates at Randy’s birthday pizza party, which her entire class attends. Written and illustrated by Steinke, this authentic and charming comic offering is both eye-catching and accessible with its cheery plotlines and emphasis on friendship. The art is clean and bright, with simply rendered panels and clear speech bubbles. Since each volume shifts its lens to different students, this series works equally well as a stand-alone or as read sequentially; for those looking for more capers, a third volume is promised. Young readers should easily self-identify among the variety of animal characters, who encompass a broad spectrum of diversity, including having same-sex parents, dealing with anxiety, and ethnic differences. The last is cued with attire and naming convention, with no discernible attempt to correlate particular animals with particular cultural groups.

Familiar, fun, and all-around delightful. (Graphic fantasy.

6-10)

WHAT DO YOU CELEBRATE? Holidays and Festivals Around the World Stewart, Whitney Illus. by Engel, Christiane Sterling (40 pp.) $16.95 | Mar. 5, 2019 978-1-4549-3213-0

Celebrations the world over involve parades, foods, traditional clothing, masks, songs, and games.

Information on 14 festivals, country maps, small photos, sidebars with holiday traditions (in the appropriate language, with pronunciations), and instructions for a craft or a recipe make up the jam-packed left-hand page of each spread. Colorful, detailed cartoon illustrations appear opposite. There are certainly interesting facts and activities, but careless errors (including a typo to be corrected in the second printing) and a decided slant toward Western Europe (five countries) diminish the volume’s value. Opening with a monthly timeline, it offers a basic explanation of the lunar calendar, but this is not integrated into the overall schematic. This spread also includes a note about adult help for crafting and cooking. Many of the holidays are commonly celebrated in many places, and the author’s failure to point out that Eid al-Fitr, for instance, is celebrated around the globe and not just in Egypt is a sad, missed opportunity. A few festivals are not often presented in books of this ilk, such as Bhutan’s Dangpai Losar (New Year) and Laternenfest, held on St. Martin’s Day in Germany. The last spread brings children from the different countries together and asks readers to create their own celebrations. Sadly, given the glancing notice necessitated by the format, there are no further resources included.

Despite some bright spots, the lapses in information limit this book’s effectiveness. (glossary, index) (Nonfiction.

7-10)

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MOON WISHES

Storms, Patricia & Storms, Guy Illus. by Pavlović, Milan Groundwood (40 pp.) $17.95 | Mar. 5, 2019 978-1-77306-076-7 The moon’s beneficent presence prompts reassuring aspirations.

As if chanting a lyrical mantra, the unnamed narrator introduces a series of wishes with the repeated phrase, “If I were the moon.” As the moon, the narrator envisions painting “ripples of light on wet canvas,” “shimmer[ing] over dreams of snow,” “wax[ing] and wan[ing] over the Earth’s troubles,” and bringing “peaceful sleep for worried hearts.” The language is flowing and soporific, the repetition of “moon” slow and soothing. Finally, as the moon, the narrator would “become big and bright” with love to shine on readers. Loose, vibrant illustrations done in mixed media, including drawing inks and colored pencils, provide visual grounding for the abstract text. Using broad, fluid brush strokes, Pavlović loosely spreads luminous washes of color to create moonstruck nocturnal scenes. The moon appears somewhere in each double-page spread, smiling and shining on fish and whales in the sea, polar bears on ice, burdened humans crossing a landscape, city cats afoot, wolves howling, and so forth. Animals depicted are slightly anthropomorphized, often smiling back at the moon. The moon’s influence can perhaps most strikingly be seen in a picture of a long line of displaced people trudging sadly along, but one babe on mother’s back is smiling in their sleep.

A soothing, comforting lunar lullaby calibrated for bedtime sharing. (Picture book. 4- 7)

GARGANTUA (JR!) Defender of Earth

Sylvester, Kevin Illus. by the author Groundwood (40 pp.) $18.95 | Apr. 2, 2019 978-1-77306-182-5

A little kaiju yearns to join its mom in saving Earth and other good deeds.

It seems the narrator’s mom at one time was “a little...wild” (“Where did you even find that?” she exclaims, rolling her eyes at a collection of clippings with headlines like “GARGANTUA STRIKES AGAIN”). But now she helps out by resetting knocked-over buildings, tickling rampaging space robots into acquiescence, and blasting the occasional giant asteroid before it hits with her fiery atomic breath. “I want to grow up to be just like my mom,” proclaims the cute little narrator—who chafes at being allowed to cheer her exploits only from a distance. The diminutive lizard-monster therefore determinedly sets out to prove that it’s not a baby any more. Fortunately, Mom comes through in the clutch. After saving her overly ambitious mite from being smooshed beneath the condemned skyscraper it |

manages to knock down, instead of meting out punishment she cannily suggests that maybe they should work together from then on. “And that’s just what we do,” the dinky dino concludes, adding a pint-sized blast to its mom’s roaring exhalation. Only carping critics will complain that Sylvester models his roundheaded narrator and its smiling, much bigger single parent more on Godzilla and Godzilla Jr. than the Gargantua of film in his cartoon pictures. They are missing out on terrific fun.

Parenting skills come in handy even for immense, green, fire-breathing monsters. (Picture book. 5- 7)

FELIPE AND CLAUDETTE

Teague, Mark Illus. by the author Orchard/Scholastic (40 pp.) $17.99 | Mar. 26, 2019 978-0-545-91432-1

RHYMES WITH CLAIRE

Thompson, Chad J. Illus. by the author Aladdin (40 pp.) $17.99 | Apr. 23, 2019 978-1-4814-7097-1

Claire has unwittingly adopted a magic bird whose rhymes transform things—for better or for worse—in this second installment by Thompson (Rhymes with Doug, 2016).

Doug, a white, redheaded boy, rushes to school to warn his friend Claire, a black girl with small afro puffs, about Otto, a |

TITO THE BONECRUSHER

Thomson, Melissa Farrar, Straus and Giroux (240 pp.) $16.99 | Mar. 5, 2019 978-0-374-30353-2

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Two animals at a shelter can’t find a home.

Mrs. Barrett runs an animal shelter and has always successfully placed the puppies and kittens in her care for adoption. But two adult animals, Felipe (a grouchy gray-and-white cat) and Claudette (an exuberant brown dog), are left behind each week. Felipe blames Claudette and her loud, messy, boisterous ways for alienating prospective adopters, though the story never quite explains why her behavior would affect his chances of being adopted. When a man adopts Claudette, Felipe is left alone at Mrs. Barrett’s and seems even grouchier than usual. But then Claudette is returned to the shelter because she’s not at all the high-spirited dog the man had expected. It’s clear that she lost her spark because she was away from Felipe, and as soon as they’re reunited, she returns to her lively self. In a happily-everafter twist, Mrs. Barrett decides to adopt the animals herself, and Felipe gains new appreciation for his canine companion.

Throughout, Teague’s comical art enlivens the humor of the story, diminishing any worry that the ending will be anything but happy for the odd-couple pair of friends. Mrs. Barrett is a black woman whose hairstyle is not unlike Michelle Obama’s.

A fine feline-and-canine tale. (Picture book. 3-6)

small green bird with a strange magical power. Otto likes to rhyme, and when he rhymes, things happen. “DOUG SLUG” turns Doug into a slug. Since Claire is now the object of Otto’s rhyming frenzy, the two friends’ adventures with the bird involve fun at a fair, a pair of baby bears, the bears’ dangerous mommas in a lair, and escape on a mare. The digital illustrations are cartoonlike and brightly colored, with some close-ups, some vignettes, and some full spreads. Once Claire, Doug, and Otto return from their adventure, Otto elicits “care” from Claire and a “hug” from Doug. At the end of the book, an older boy named Dale asks to try the magic bird, and he is turned into a whale. The plot, such as it is, is structured around the haphazard sequence of rhymes, and although the premise is mildly intriguing, there is neither enough story nor enough humor to keep readers engaged.

There are better books about rhyming, friendship, and magic to be found. (Picture book. 3-6)

To rescue his father from prison, 11-year-old Oliver “Spaghetti-O” Jones tries to get a little help from his favorite luchador.

After months of legal woes, Oliver’s father ends up in a Florida correctional center despite his assurances to Oliver and his irritable big sister, Louisa, that “[e]verything was going to be fine.” Now Louisa won’t even talk to their father, but Oliver’s not giving up that easily. Inspired by his favorite luchador-turned–action hero, Tito the Bonecrusher (motto: “Never quit trying!”), Oliver needs to concoct a plan to bust his father out of prison. To do so, he must infiltrate a charity gala to meet the bombastic action star, who holds the know-how required for such a daring caper. Thomson’s excellent middle-grade debut plumbs the absurdity and desperation inherent in a painful situation. Throughout the ordeal, Oliver battles and suppresses his grief and pain in a way that younger readers can recognize and perhaps understand amid the humor; more than anything, it’s this implicit focus that makes this novel a great one. Going along for the tumultuous ride is Oliver’s best friend, Brain (a girl genius), and some unexpected allies. Each scheme (celebrity photos with forged signatures, skipping detention via a decoy) seems more outrageous than the last, but when the day of the gala arrives, will Oliver have what it takes to save the day? A white default is assumed.

An uplifting gem. (Fiction. 8-11)

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THE FALCON’S FEATHER

Trueit, Trudi Illus. by Plumbe, Scott Under the Stars (208 pp.) $16.99 | Mar. 19, 2019 978-1-4263-3304-0 Series: Explorer Academy

Cruz Coronado is still feeling on edge after the attack on his life in series opener The Nebula Secret (2018) as the Explorer Academy sets off on the research vessel Orion for the next phase of its educational journey.

Before Cruz’s scientist mother’s mysterious death, she hid the clues to a secret formula with world-changing healing potential in a holo-journal. Cruz and his academy friend and roommate, Emmett Lu, keep the secret of the journal close even as they discover that someone aboard the Orion is trying to steal it. Lani Kealoha, Cruz’s childhood friend, video-calls Cruz and crew regularly from Hawaii, using her decoding skills to help decipher the journal’s holographic clues. While dodging his assassins, Cruz pursues his studies, leading Team Cousteau to Norway, where the author infuses cool, scientific facts about the endangered North Atlantic right whale and the Svalbard Global Seed Vault into the narrative. The educational component of this story takes readers outside of the book via a link to an interactive companion website. Like its predecessor, this book is chock-full of National Geographic adventure interlaced with techno-future gadgets the academy provides its diverse young students (cued by naming convention). However, the author basically follows the same storyline rubric as the first book, so if readers aren’t hooked by the science, there’s little else for them.

A formulaic second installment that takes readers around the globe but doesn’t push the story forward. (Science fiction. 10-14)

I HAVE AN IDEA!

Tullet, Hervé Illus. by the author Chronicle (88 pp.) $17.99 | Mar. 26, 2019 978-1-4521-7858-5

A gifted finder of ideas explains how to track the tricky, elusive things down.

Readers should be warned to hold on to their hats, because although it’s presented as one long, breathless mix of hand-lettered expostulations and dashed-off jabs, squiggles, and swipes of blue, red, and yellow paint, Tullet’s monologue veers about like an unknotted balloon. Dispensing with a title page, he opens abruptly by marveling at the “OH!” moment when an idea hits, then rhetorically asking what an idea might be. He goes on to describe hunting for one as an arduous, even “boring” task. Observing that happening upon an idea is “a little like finding a seed” that grows, he 120

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suddenly switches his conceit to exclaim that ideas will come in a “messy and bubbly” swarm—but must be sifted to find the “good” ones, which “always” contain “a seed of madness.” Rather than pausing to unpack that vague if fine-sounding phrase, he rushes on to claim (with one minor typo) confusingly that “those seeds” (which ones?) are hidden everywhere but can be found, cultivated, absorbed in the mind, and ultimately combined...to make an idea. (Weren’t we there already?) Finally, following the affirmation that the effort is worthwhile, whether “just for the fun of it” or “to change the world,” he closes with the inspirational assurance that those who seek will find. Well, that part at least is clear enough.

Haphazard stabs at describing at least parts of the creative process—more illuminating perhaps for the artist’s students than the rest of his audience. (Picture book. 8-10, adult)

FRIENDS

Valério, Geraldo Illus. by the author Groundwood (40 pp.) $19.95 | Mar. 5, 2019 978-1-77306-102-3 In Blue Rider (2016), Valério employed explosive colors and forms to illustrate, sans text, the magic of reading; here the Brazilian-Canadian’s wordless narrative depicts two friendships that blossom at the edge of the sea.

In the opening, a girl with flaming curls and a large, mustardcolored face dips her toes into the water, tackle box in hand. As a fish explores her submerged fingertip (and another, those of her companion, a frog), she imagines one on her line. It retreats when the hook is lowered. Her frown is reflected in the water, and she subsequently experiments with expressions, as does her green friend. The fish return, and as her demeanor becomes more pleasant, the mirror image morphs into a mermaid. The cool, blue figures contrast with the sunny shoreline palette until girl and amphibian are guided into the water and the sand recedes completely. Subtle changes to the pastel, colored pencil, and acrylic compositions begin as the friendship solidifies: The mermaid’s hair fills with yellow stars and sea horses while the child’s somewhat subdued hair becomes flecked with blue. The foursome flips and floats, surrounded by other sea creatures. As the girls make pearl necklaces, the frogs play with bubbles. In a satisfying conclusion, no one is called home; the characters simply drift off the page in slumber, leaving readers to imagine what occurs next.

Gentle humor and a sense of wonder pervade this joyful aquatic fantasy. (Picture book. 3-6)

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Ward’s mottled little frog, made in a watercolor and crayon resist technique, is as snappy as the text, hopping and flipping all over the page. crunchy, not sweet

SQUIRREL IN THE MUSEUM

Vande Velde, Vivian Illus. by Björkman, Steve Holiday House (112 pp.) $15.99 | Mar. 19, 2019 978-0-8234-4167-9

FRIENDROID

Vaughan, M.M. McElderry (384 pp.) $17.99 | Mar. 26, 2019 978-1-4814-9065-8 A 12-year-old loner makes friends with a popular classmate—who just happens to be an android.

Danny introduces Slick’s story by telling readers how it ends: Slick is dead, he was murdered, and he was an android.

This is Slick’s journal, Danny explains, and he’s publishing it because he wants everyone to know the truth. In chapters that shift between Danny’s and Slick’s perspectives, readers meet Danny’s dead best friend as a blond and blue-eyed new kid who has recently moved from New York City. Slick (real name Eric) thinks he’s a regular kid: He’s focused on how many friends he has on Kudos, enthralled with his many pairs of Slick sneakers and his Oldean T-shirts—he is so brand-obsessed he sounds like a present-day social media influencer—and ignored by his |

CRUNCHY, NOT SWEET

Ward, Amy Frances Illus. by the author KWiL Publishing (40 pp.) $14.99 | Mar. 5, 2019 978-0-9991437-2-8

A red-eyed tree frog is on the hunt for something new to eat.

Little Tree Dude (“Dude” for short) is perched atop branches looking for his next meal. All those worms that he has been eating are too boring. (Alas, the illustrations show an inchworm, which isn’t technically a worm.) He wants something crunchy and tasty.

With a hop and a plop, he jumps to where a monkey is eating lunch.

The banana looks delicious, so he takes a big bite. “Too mushy! Too sweet! And there’s no crunch to munch!” (Young readers are bound to enjoy the sight of Dude spitting that mouthful out with no concern for manners.) He also tries berries and nuts, but nothing satisfies his craving. Until he hears a buzzing: “Zip-zipping and flipping, a dark spot zooms by. / The sound is appealing. He thinks he knows why.” His long, sticky tongue snaps out and finally catches a tasty treat—a fly! Ward’s mottled little frog, made in a watercolor and crayon resist technique, is as snappy as the text, hopping and flipping all over the page. One clunky misstep (“a deep no-food rut”) stalls the rhythmic momentum, but it does match the frustration the frog is feeling at the time. A quick list of “Frog Facts” closes the book.

A tad slight on science but full of pep. (Picture book. 3-6)

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Schoolyard squirrel Twitch has scientific questions but no answers, so he joins a class trip to the Galileo Museum and Science Center.

Stowing away on the school bus is just the first of Twitch’s adventures on this field trip, all breathlessly recounted in a first-person, present-tense narration that exposes his squirrel-centered understanding of the world.

Chapter-book readers will both recognize his quirks, including his preoccupation with food, and enjoy a sense of superiority in their wider understanding. For this third title in a series that began with 8 Class Pets + 1 Squirrel /1 Dog = Chaos (2011), the author-illustrator pair have perfected their formula for entertainment—a limited perspective, slapstick humor, and nonstop action. Twitch is protected inside the museum by a white boy who uses a wheelchair, often shown among his racially diverse classmates in Björkman’s amusing sketches. Other images show Twitch atop an astonished girl’s head, scaring her more than the animatronic T. Rex behind her; Twitch wreaking havoc in the museum’s gift shop; driving a model Mars rover; and flying over a Bernoulli air pressure table. Framed by conversations with science lab geckos Galileo and Newton (among the narrators in the first book), these Twitch episodes stand alone but will certainly lead readers and listeners to look for more.

This field trip to remember will appeal to eager chapter-book readers, fans of talking-animal stories, and teachers looking for an engaging read-aloud. (Fiction. 7-10)

equally popularity-hungry parents. But he bonds with Danny over the one thing he loves that isn’t popular: the online game Land X. Their friendship is a first for both of them: Danny’s first friendship at all and Slick’s first friendship that isn’t just about popularity. But can they keep Slick safe from his creators?

The satisfying revelation of Slick’s strangeness contrasts engagingly with the absurd humor of this odd-couple friendship, and Vaughan executes her satire effectively for an audience that may not be accustomed to it. Both Slick and Danny present white.

A timely parable for this generation of digital natives.

(Science fiction. 9-11)

VACATION FOR DEXTER!

Ward, Lindsay Illus. by the author Two Lions (32 pp.) $17.99 | Apr. 16, 2019 978-1-5420-4320-5 Series: Dexter T. Rexter

Jack and his over-the-top, animate, orange T. Rex toy are back, this time tackling their fears of flying.

Jack and Dexter are very excited for vacation—they are going “someplace exotic called FLOR-I-DA.” But when the car stops too soon and Dexter realizes they are at the airport, even his kirkus.com

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Bragadottir’s cartoon art exploits every opportunity for laughs as the small, green, froglike alien crouches over a cowboy hat, a trash can, and a fishbowl. don’t go there!

vacation accessories can’t keep him from losing his cool; everyone knows T. Rex arms are too short for flying. But just as Dexter really starts to melt down, he gets a glimpse of Jack and realizes he needs to take care of his boy. Dexter pulls out all the stops in calming Jack, and the duo sing their song (with an airplane twist), peer out the window, and enjoy the movie and all the cookies the “nice lady” plies them with. Ward’s orange dino continues to break the fourth wall, though he’s a mite calmer than usual in this outing. The illustrations are just as laugh-out-loud funny as ever, with the toy’s expressions stealing every scene. Jack, who has brown skin, sits in a window seat next to a girl/woman who shares his coloring; across the aisle are a man and a woman with a baby who also all have brown skin. The relationships are not clear, though the text states Jack is not sitting with his parents.

Jack and Dexter have become a beloved duo, and the dino’s behavior-modeling sure goes down easily. (Picture book. 5-8)

ENEMY CHILD The Story of Norman Mineta, a Boy Imprisoned in a Japanese American Internment Camp During World War II

Warren, Andrea Margaret Ferguson/Holiday House (224 pp.) $22.99 | Mar. 19, 2019 978-0-8234-4151-8

An encompassing look at Norman Mineta, the first AsianAmerican to serve as mayor of a major American city, a Congressman, and Secretary of Commerce and Transportation under George W. Bush.

Mineta is a Nisei, a second-generation Japanese-American, born in San Jose, California. Writing efficiently with concise descriptors, Warren narrates in the third person, focusing primarily on the family and social environment of Mineta’s school-age years. Warren starts with Mineta’s father and his immigration to the U.S. for work. He wisely became fluent in English while working in the fields, later establishing his own insurance business, enabling him to give all five children great educational opportunities. Their lives are quickly disrupted by World World II. Mineta now 11, his parents, and most of his much-older siblings are sent to an assembly center in Santa Anita, California. Eventually they end up in Heart Mountain War Relocation Center, Wyoming. The experience drives Mineta to later pursue politics and to introduce the Civil Liberties Act of 1988, offering camp survivors restitution and a formal apology from the government. Warren includes anecdotes of white allies, including a chapter about Alan Simpson, a childhood acquaintance and later a political ally of Mineta in Congress. Pronunciation guides to Japanese are provided in the text. Archival photographs provide visuals, and primary-source quotes—including racial slurs—contribute historical context.

No timeline is provided.

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Written straightforwardly, it’s not the most engaging read, but it is an invaluable record of an incredible life. (author’s note, bibliography, index) (Biography. 10-15)

THE SELFISH GIANT

Wilde, Oscar Illus. by Bowman, Jeanne Familius (32 pp.) $17.99 | Apr. 1, 2019 978-1-64170-126-6

The richly sentimental 19th-century tale gets a 21st-century setting.

Poor artistic decisions stymie a worthy effort. Preserved here unaltered (though printed in teeny-tiny type), Wilde’s economically written original makes for, as ever, stately, sonorous reading, aloud or otherwise. Visually, Bowman’s eye-filling garden scenes sandwich genuinely shiver-inducing tangles of dry stalks swathed in frost and snow between, in better seasons, views of luxuriant masses of outsized flowers and greenery. The giant is a red-haired, white gent in moderately antique clothing...but the tiny children he chases away (and later welcomes back) are a racially diverse lot in school uniforms and sporting backpacks and hula hoops. Tapedup advertisements on the outside of the giant’s wall and other details further add to the understated contemporary air, and the smallest child, who comes back at the end bearing stigmata to welcome the now-elderly giant to his garden, has an unruly shock of dark hair and an olive complexion. All of this updating comes to naught, though, because with supreme disregard for the story’s essentially solemn tone and cadences, Bowman arbitrarily sticks in silly bits—first depicting Hail as a baboon with a bright red butt (the garden’s other winter residents are at least embodied as northern animals) and then in a climactic scene putting the giant into humongous footie pajamas decorated with bunnies and carrots. Talk about discordant notes.

Opinions may differ about the story’s sublimity; here it’s been made ridiculous. (Picture book. 6-9)

DON’T GO THERE!

Willis, Jeanne Illus. by Bragadottir, Hrefna Andersen Press USA (32 pp.) $17.99 | Mar. 5, 2019 978-1-5415-5508-2 Can a human preschooler teach a baby alien how to use the potty?

The narrator, who wears a jumper and tights, is charmed by a baby alien from another planet—until noticing he doesn’t know “how to use the loo!” After he pees on the narrator’s easel and then poos in a birdbath outside, the child brings him into the bathroom to show him the toilet. He’s resistant, and so begins a lengthy interlude in which he resists all entreaties to use the potty and instead tries to go in various other places. |

Bragadottir’s cartoon art exploits every opportunity for laughs as the small, green, froglike alien crouches over a cowboy hat, a trash can, and a fishbowl. The last instance results in a mess, though the narrator saves the fish. Determined child then marches the alien back to the bathroom and teaches him a potty song: “Lid up, pants down, / bottom on the seat. / Sit still, just chill, / until the job’s complete. / Whistle if you want to. / Singing can be fun. / Wipe, flush, wash hands, / then you’re done!” In a humorous aside, the alien flubs the song when he tries to sing it, but eventually he succeeds in using the potty. As he returns to his departing spaceship, the narrator turns his success around to readers, assuring them, “If he can use the potty, you can too!”

The narrator presents white; judging by the alien’s posture, his alimentary system and its termini are analogous to humans’.

A spacey twist on the potty book. (Picture book. 1-3)

HOLY SQUAWKAMOLE! Little Red Hen Makes Guacamole

Somewhere in southern Mexico a hen (who is, of course, little and red) is hankering for some guacamole.

But her otherwise-occupied neighbors, who all agree that “Nothing beats a tasty guacamole,” won’t join in the gathering of the essential ingredients. The coati’s “hanging out,” the snake’s “all tied up,” the armadillo’s “gotta jump,” and the iguana is working on a tan. The hen manages to gather everything she needs, including one giant, red jalapeño—concealing it from the genial but unhelpful cast of characters. When the guacamole is shared all about, the chicken’s secret ingredient has her friends blowing their tops. “ ‘HOLY SQUAWKAMOLE!’ they all hollered.

‘THAT’S A SMOKIN’ HOT GUACAMOLE!’ ” Wood’s retelling of this well-known tale of reaping what you sow meanders along, raising questions throughout. Why are masa and cumin mentioned on the first page when neither is needed to make guacamole? Another puzzle arises from the author’s choice for the protagonist. She makes a point of selecting animal sidekicks native to Mexico but misses an opportunity to use the native turkey instead of the standard chicken. Also, there is both misinformation in the appendix (Aztecs did not use cilantro; it likely arrived with the Spaniards) and the confusing addition of Japanese, French, and Caribbean spins on guacamole.

González’s colorful digital art is generically cute but as texturally flat and lackluster as the story itself.

Not, alas, as tasty as its topic. (recipe, glossary) (Picture book. 3-8)

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Yazdani, Ashley Benham Illus. by the author Candlewick (40 pp.) $17.99 | Mar. 12, 2019 978-0-7636-9695-5

New Yorkers are still enjoying their very special place to walk, play ball, sail model boats, attend concerts, and so much more.

In 1858, two visionary men entered a contest to design and build what remains today as a “vibrant jewel at the heart of New York City.” That is, of course, Central Park, and it was the visionary work and attention to detail by Calvert Vaux and Frederick Law Olmsted that created what is still an oasis of green.

Opening with a double-page spread depicting the 1857 eviction of the African-American residents of Seneca Village, Yazdani then traces the white designers’ collaboration, plans, process, and success through an engaging text and a delightful series of digitized pencil-and-watercolor illustrations. The land was a “swampland,” and with a great deal of digging and planting it was transformed into a delightful place to ice skate in the winter or boat in the summer. Backmatter provides additional information about the two men, and in a Q-and-A, the author fills in further facts about the elm trees, the arches, and the AfricanAmerican community forced from its home. Sharp-eyed readers are invited to find and count gray squirrels. Also of note is a double-page spread depicting the many bridges and arches that have been constructed. The parkgoers, both in the 19th century and today, are a diverse group.

For park lovers everywhere. (author’s note, bibliography) (Informational picture book. 7-10)

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Wood, Susan Illus. by González, Laura Sterling (40 pp.) $16.95 | Mar. 5, 2019 978-1-4549-2253-7

A GREEN PLACE TO BE The Creation of Central Park

SPY RUNNER

Yelchin, Eugene Illus. by the author Godwin Books/Henry Holt (352 pp.) $17.99 | Feb. 12, 2019 978-1-250-12081-6 It’s 1953, and Jake just knows that the new boarder is a Communist spy.

The 12-year-old fan of Commiefighting comics hero Spy Runner has no trouble finding plausible evidence, either, from the unkempt stranger’s comment that his parents were Russian to mysterious phone calls in the night and a scary interview with a pair of heavies who claim to be FBI agents. But suspicion proves (then, as now) contagious, and suddenly Jake’s own best friend is shunning him, he’s ostracized at school, and a black car is following him around Tucson. On top of all that comes the emotionally shattering discovery that his mom, solitary since his dad was declared MIA in World War II, has let the stranger into her room. At this point, having set readers up for a salutary but hardly unique tale about prejudice, misplaced kirkus.com

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suspicion, and the McCarthy era, Yelchin briskly proceeds to pull the rug out from under them by pitching his confused, impulsive protagonist into an escalating whirl of chases, crashes, threats, assaults, abductions, blazing gunplay, spies, and counterspies—along with revelations that hardly anyone, even Jake’s mom, is what they seem. The author includes a number of his own blurred, processed, black-and-white photos that effectively underscore both the time’s fearful climate and the vertiginous quality of Jake’s experience. The book assumes a white default.

An imagined adventure turned nightmarishly real leads to exciting, life-changing results. (Historical adventure. 10-13)

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THE WOLVES OF SLOUGH CREEK

Young, Judy Sleeping Bear Press (240 pp.) $16.99 | $9.99 paper | Mar. 15, 2019 978-1-53411-020-5 978-1-53411-021-2 paper Series: The Wild World of Buck Bray, 3 Middle schooler and television star Buck Bray is back for a third outing, this time bringing his intrepid detecting skills to Yellowstone National Park.

He’s accompanied by his partner in crime prevention, Toni, the daughter of the cameraman who films the national park– related documentaries. Shortly after the kids meet the twins Kale and Kayla Kolson, also middle schoolers, in the park, it becomes clear that someone is illegally flying drones there.

Then coyotes and a wolf turn up dead from poison. Reviewing some of the show’s film, Kale and Buck realize the poisoner is using a large, expensive drone to deliver the lethal bait to the animals. Kale, who has Asperger’s, is a talented drone flyer. So is Jason, an older boy who’s also camping in the park. Finally, there’s Lyall, the president of the drone flying club, all of the fliers drawn to the area by a nearby drone competition. Young cleverly inserts ample red herrings, sustaining the suspense while including lots of information about both the park and the wolf packs that have been reintroduced there. None of the characters have physical descriptions (except for age), which combines with the cover depiction of light-skinned Buck and Toni to imply the white default. Information about drone flying adds additional appeal to this engaging tale.

Substantially the best of the mystery/travelogue series to date, this one suffers from fewer credibility issues than the previous entries. (Mystery. 9-12)

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WHO LIVES WHERE?

Babin, Stéphanie Illus. by Kiko Twirl/Chronicle (14 pp.) $12.99 | Jan. 8, 2019 978-2-40800-796-6

Young readers can move small sliders to reveal the home of the animal featured on the outside of the panel.

Each double-page spread features a specific habitat for a collection of creatures, including “In the House,” “On the Farm,” and “On the Savanna.” The verso features a full-page illustration of the landscape with the animals and their homes in their context, each labeled with a short caption containing a clue as to where the animal makes its home. The recto holds six rectangular windows with the featured animals (a bee, a sparrow, an ant, and three more on the “In the Garden” page) with square, easy-to-move sliding panels that reveal their homes (a “hive”—sadly, what’s depicted is not a beehive but a wasps’ nest—a “birdhouse,” and an “anthill leading to underground home,” respectively) with a swipe to the left. Kiko’s art is eyecatching and flat, employing a soft but fully saturated color palette. There are some nice vocabulary-building opportunities with “rabbit hutch” and the guinea fowl’s “shrub,” but the project misses an opportunity to introduce youngsters to the eagle’s eyrie, instead opting for “nest.”

Little fingers may enjoy sliding the panels more than discovering the answers underneath. (Board book. 2-4)

PUPPY TALK Opposites

Coates, J.C. Illus. by the author Charlesbridge (20 pp.) $7.99 | Jan. 15, 2019 978-1-58089-847-8 Playful puppies with big personalities illustrate pairs of opposites.

Professional photographer and author Coates presents a cast of cuddly, exuberant puppies who model a variety of useful pairs of opposite terms. “Front” and “back,” “far” and “near,” “awake” and “asleep,” and six other pairs of vocabulary words come to life in these charming and funny photos. Amusing comments from the four-legged models add an element of laughter and a hint of chaos, as well. A tiny picture of a Boston terrier, set back in the upper-left corner on an otherwise white page, accompanies the text “Max is far,” as Max calls out from the distance, “Hello-o-o!” On the facing page, “Max is near,” and a close-up of the dog’s face fills the page; Max says, in alarm, “Whoa! TOO close!” Sophie, an adorable Portuguese water dog, is “dry” on one page, remarking, “I need a bath.” The facing |

Some pop-up effects, such as a marine Elasmosaurus raising its sinuous neck as the spread opens and T. Rex flashing its toothy dentifrice directly at viewers, even offer realistic movement. my first pop - up dinosaurs

page reads, “Sophie is wet,” and the damp and annoyed-looking pup is wrapped in a towel, saying, “I need a hug.” All the dogs are photographed in color and presented on a plain white background, which makes the ideas presented in each photo impossible to miss. Featured vocabulary is printed in colored type. The front and back covers also feature Max, face-first or backside-first respectively, announcing “This is the front!” and “This is the back!”

Silly and instructive; an animal lover’s delight. (Board book. 1-4)

hooves appear. The illustrations are certainly fun to look at, and the sliding feature is inviting and compelling (even adults will want to try it out). What’s puzzling, though, is the purpose of the sliding, aside from perhaps engaging little readers’ finemotor skills. What changes about each animal seems arbitrary, sometimes altering them from a single, solid black-on-white or white-on-black silhouette to a figure with some details; others simply add or subtract details. On one page, the chicks disappear and reappear altogether, the only such animal to do that in the book. Thus the book doesn’t seem to be about a play on outlines and shapes, or a play on disappearing and reappearing, or really any one thing except an amusing little gimmick that activates colors and patterns.

The fun of this one is in the manipulative elements, even if they don’t make the book wow. (Board book. 6 mos.-2)

MY FIRST POP-UP DINOSAURS

Illus. by Davey, Owen & Hawcock, David Candlewick Studio (20 pp.) $16.99 | Apr. 9, 2019 978-1-5362-0566-4

TITANIC

A low-key 3-D portrait gallery of dinos and prehistoric reptiles.

Showing considerable improvement over the lackadaisically designed dinos he made for Sheri Safran’s Dinosaurs! (2015), the 15 models that paper engineer Hawcock presents here sport natural-looking parts and poses. Some, such as a marine Elasmosaurus raising its sinuous neck as the spread opens and T. Rex flashing its toothy dentifrice directly at viewers, even offer realistic movement. Other effects include a Brachiosaurus that sticks its head up high above the top of the book (it will surely be the first to tear off) and a small flock of Coelophysis that race along at three levels of depth. Illustrator Davey kits nearly all out in brightly contrasting skin patterns or dramatic sprays of feathers, and he places each against plain or minimally detailed backgrounds to make shapes and colors pop. He sticks to mostly subdued earth or marine tones—even the turkeylike Oviraptor sports fairly staid plumage. Aside from polysyllabic one-word labels in big type with pronunciation guides beneath, there is no text.

Fine fare for younger dinophiles alone, one-on-one, or in herds. (Novelty picture book. 3-6)

Fear of death propels readers to escape the sinking Titanic in this doodleyour-own-adventure book.

Onboard the Titanic, “you” must choose one of three potential characters: a second-class passenger (male, European descent), a crew member (male, race unspecified), and a stowaway (gender and race unspecified), and try to escape the ship’s doomed maiden voyage. As “you” doodle on, punch through, tear, and fold the pages, “you” encounter historical figures such as J. Bruce Ismay, the chairman of the White Star Line, and Capt. Edward John Smith (both male and white) and learn about the many decisions that condemned the Titanic to failure.

Doyle ups the ante in choosing the correct path as death lurks around every corner. Drowning, freezing to death, and drifting off into the cold night are only a few of the tragic endings waiting for those who aren’t expert “escapologists.” However, with the guidance of a helpful gopher (an actual animal) that returns “you” to the last checkpoint, “you” get multiple chances of avoiding demise. With more tragic than happy endings, this book might seem a cavalier take on a catastrophic event to readers who don’t appreciate graphic descriptions of death and dying, punctuated as it is with exercises such as drawing “a bowl of cold and slimy noodles on a passenger’s head” and pretending to tap out “She’ll Be Coming ’Round the Mountain!” on Sax’s lineup of partially filled wineglasses. The three difficulty levels show the socio-economic dynamics of maritime travel in 1914, giving fewer chances of survival to stowaways and crew members.

Interactive adventure book full of historical facts— though not for the faint of heart. (Adventure/novelty. 10-13)

FARM ANIMALS

Illus. by Deneux, Xavier Twirl/Chronicle (12 pp.) $12.99 | Jan. 8, 2019 979-1-02760-604-7 Series: Baby Basics An interactive board book about farm animals with sliding tabs.

Deneux deploys his usual simple, bold, labeled illustrations with an eye to palette and a play on color. This board book uses only three colors—orange, black, and white—which may strike some as odd given the illustrations include a pig and a donkey. Readers are invited to slide a tab with a die-cut circle for a fingertip either up and down or back and forth in order to alter details on the animal: An eye opens, a beak turns orange, |

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Doyle, Bill Illus. by Sax, Sarah Random House (192 pp.) $10.99 | Mar. 19, 2019 978-0-525-64420-0 Series: Escape This Book

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Giordano fits his semi-abstract figures and their compositions together in such harmonious ways that the seek-and-find game may well take a back seat to the simple pleasures of just poring over each scene. seasons

SEASONS

Giordano, Philip Illus. by the author Twirl/Chronicle (10 pp.) $14.99 | Feb. 5, 2019 978-2-40800-789-8 Series: Turn Seek Find In a seasonal round, crowds of bright flora and fauna ingeniously constructed from geometric forms pose playful challenges in shape and color recognition.

Two sturdy, toothed wheels turning under die-cut windows on either the right or the left of each big spread are the engines that drive this entry in the Turn Seek Find series. They invite viewers to choose one of four grayscale figures—a robin (this is a French import), a fir tree, a squirrel, or a snowflake in “Winter,” for instance—and one of four colors and then to spot the selection amid a seasonally themed riot of stylized shapes and saturated hues. Along with using evocative color schemes for the four seasons, Giordano fits his semi-abstract figures and their compositions together in such harmonious ways that the seek-and-find game may well take a back seat to the simple pleasures of just poring over each scene, letting lines and transitions guide exploratory eyes to fresh discoveries, seeing the plants and animals (there are many more than the quartet offered on each wheel), and basking in the golden glow of “ Fall” or shivering deliciously in the chilly blues of “Winter.” Still, the game is absorbing too, and it’s capped at the end with elements of the previous pictures recast in a joyous whirl of “All Year Round,” with apples, flies, clover, and frogs to spot. “Hooray, you found them! Now turn the wheels to play again!” The invitation will find no lack of takers.

High marks for concept, art, design, and sheer visual energy. (Novelty board book. 3-5)

LITTLE PLANE

Gomi, Taro Illus. by the author Chronicle (22 pp.) $6.99 | Mar. 5, 2019 978-1-4521-7450-1 A rough-and-tumble little plane explores the world.

Zooming about, bright fuchsia and gray against jade-green sky, Little Plane is raring for adventure. Gomi perfectly encapsulates the plane’s essence with simple shapes and chunky black outlines and still manages to make Little Plane look light and airy. Like most youngsters, Little Plane encounters turbulence while playing, getting dirty and bouncing back from several failed attempts at landing atop trees or on a slick, muddy mountain. This initial narrative, of getting messy and resiliently getting up after failing, is ideal for toddlers, especially with the narrator and warmly personified trees, buildings, and rocks watching over and admonishing the aircraft to “be careful” or to “try again.” Unfortunately, the narrative veers away from this 126

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smooth flight path when the plane spots a cream-colored building with a cavernous gaping mouth and ponders entering. The narrator’s strangely ambivalent statement that “it’s up to you, little plane” isn’t especially reassuring, and it looks disconcertingly as though Little Plane is being eaten. As our hero emerges, mysteriously clean and ready to fly home, puzzled readers will wonder what happened—is there such a thing as a plane wash?

Additionally, ending the story before the return to the safe embrace of a loved one makes it feel unfinished; his journey isn’t over yet.

Visually, there’s much to enjoy, but ultimately the narrative never quite soars. (Board book. 1-4)

CARS

Krasinski, Géraldine Illus. by Latyk, Olivier Trans. by Hardenberg, Wendeline A. Twirl/Chronicle (22 pp.) $14.99 | Feb. 5, 2019 978-2-40800-790-4 Series: AllAbout Pull tabs and other special effects rev up this look at the lives of cars, from factory to junkyard.

The book opens with a sparse “museum” of early autos and closes with a visit to a Formula 1 racetrack. In between, singletopic spreads take generic automobiles from design lab to dealer, supply glimpses of a dashboard and beneath the hood, then go on to show what happens at a repair shop, a service station, and a car wash. Moving elements, one or two per page, are fairly sturdy and relatively varied—ranging from large flaps to geared wheels, tabs, and slots that work a hydraulic lift or allow a wreck to be hauled aboard a tow truck. In Hardenberg’s translation from the French, Krasinski’s simply phrased labels and commentary incorporate some distinctive vocabulary: “prototype,” “exhaust pipe,” “pre-owned.” Though hybrid, electric, and driverless cars receive nods, the focus throughout is mainly on traditional gas guzzlers.

Latyk darkens the skin of some of the stylized human figures in his simple illustrations, but like the cars on display, most are small on the page and generic of feature.

Not a high-octane outing, but it could fill in some background for curious would-be motorists just out of their car seats. (Informational novelty. 4-6)

FEELINGS

Le Hénand, Alice Illus. by Bedouet, Thierry Twirl/Chronicle (14 pp.) $12.99 | Jan. 8, 2019 978-2-40800-792-8 Series: Pull and Play In this French import, little animals experience big emotions, but by talking about feelings and with a little help from a pull-tab, the situations turn around. |

SUPER MAZES IN SPACE!

Depicting familiar problems that will resonate with a toddler audience, each illustration uses a sturdy pull-tab to transition from the child’s dilemma to the resolution. Adult characters nicely model helping children navigate emotional moments, with one particularly successful page showing a small bear clinging to his mother, frightened of a dog. Mommy coaxes him forward, and with a pull of the tab, readers see the bear comfortably greeting the pup; it’s a gratifyingly presented miniature drama. Excellent pages, though, share the book with ho-hum ones: An “excited” little monkey’s only action is packing his backpack, an underwhelming visual change, and a toddler kangaroo (that looks a lot like a bunny) declaring himself “disgusted” seems like a linguistic stretch. Children will enjoy the tabs, which are seamless in their transition from scene to scene. Vintage 1970s-inspired cartoon animals have dramatic faces that clearly inform readers how they feel, though the animals lean closer to quirky than cute. At times, the translation feels stiff, and the dialogue’s reliance on treacly pet names—not to mention the downright cloying ending of “I love ice cream, Daddy! But I love you more”—seems contrived.

A well-constructed toy book, though its narrative might leave readers with mixed feelings. (Board book. 18 mos.-4)

Méhée, Loic Illus. by the author Trans. by Hardenberg, Wendeline A. Twirl/Chronicle (26 pp.) $18.99 | Feb. 5, 2019 978-2-40800-791-1

CRUNCH! MUNCH! BUNNY

Lloyd, Clare Illus. by Jennings, Charlotte DK Publishing (12 pp.) $14.99 | Jan. 8, 2019 978-1-4654-7853-5

Bunny hunts for carrots but finds noisy animal babies behind each flap instead.

“Bunny hops out of her burrow, / she’s looking for carrots to eat. / Can you help this fluffy friend / find a tasty treat?” The baaas, quacks, chirps, and horsey clip-clopping—activated by light as each of the first four big, shaped flaps lift—are gratifyingly loud and clear. All of the animal figures in the bright color pictures are intensely cute plush toys inserted into simple outdoorsy mixes of painted greenery and photographed flowers and bugs. Even the heaped carrots hiding behind the fifth and final flap are soft and fuzzy, though you’d never know that from the sound as Bunny hops on them (with a really loud boing) and chows down with crunches so comically amplified and rapid that caregivers too will laugh (at least the first dozen or so gorounds). As no pressing of buttons is required to cue the sound effects, Bunny’s miniodyssey is suited to sharing at a slight remove with groups of toddlers as well as one-on-one. Batteries are replaceable, and there is (thankfully) an on-off switch on the rear cover.

Sounds like a winner, though the animal chorus is a bit thin. (Novelty board book. 18 mos.-2)

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Can young spacefarer Celeste astrogate through 10 mazes, each one with distinct challenges, in time to save the universe from becoming snack food?

Uh-oh, “revolting villain” Reducto has invented a vacuum that miniaturizes and sucks up whole galaxies (“Better than popcorn,” he chortles, popping a planet into his mouth). The redhaired, light-skinned rescuer, with her three-eyed, green sidekick, Neutrino, is going to need plenty of help to reach Planet Maz, sneak past the evil inventor’s defenses, and turn the device off.

Plainly sympathizing with the bad guy, Méhée concocts a series of fiendishly clever tangles to impede the mission, featuring an array of spinners and flaps that need to be set in just the right ways to open electrical circuits or clear routes that avoid black holes and other hazards...not to mention items to collect or pick out from masses of similar ones, a maze that requires a blind start through one of several die-cut holes, and another that physically floats over a starscape strewn with toothy monsters. Better (or worse) yet, the whole mission turns out to be largely a warm-up for the task of reconstituting the universe and then returning home—both accomplished by negotiating a set of even more bewildering mazes including two that unfold to humongous size.

Mercifully, there’s a visual key at the end.

Fiendish. (Novelty. 6-9)

WE LOVE THE FARM

Saunders, Rachael Illus. by the author Cartwheel/Scholastic (12 pp.) $7.99 | Jan. 29, 2019 978-1-338-26211-7 Farm sounds get matched with their animals in this book within a book.

Two separate sets of pages that share a binding and turn independently, one set nested in the center of the other, make up this book’s gimmick. Youngsters are encouraged, by simple query, to match the larger page surrounding the inset. “Who says MOO, MOO, MOO?” is the caption at the bottom of the first outer page, accompanied by clues of a bovine nature: “calf,” “milk,” and “bull.” The accompanying nested page reveals the answer (“cow”) against a background of the same color for added confirmation. The pattern of sounds, colors, and clues continues with a hen, a horse, a pig, and a duck. On the final, “sheep” spread readers finally meet a human, a white farmer with a sheepdog. Saunders’ warmly colored illustrations have a pleasingly folksy feel, making the matching game appealing to |

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the younger set. While the format is clever and seems sturdy enough for home use, the double binding may not withstand heavy-duty library circulation.

A simple, playful, and satisfying page-turner. (Board book. 1-3)

continuing series GARBAGE & RECYCLING

Arnold, Tedd Illus. by the author Scholastic (32 pp.) $3.99 paper | Feb. 26, 2019 978-1-338-21719-3 paper Series: Fly Guy Presents (Informational early reader. 5-8)

FLIGHT OF THE BLUEBIRD

THE FINAL BOSS

LaReau, Kara Illus. by Hill, Jen Amulet/Abrams (176 pp.) $14.99 | Jan. 8, 2019 978-1-4197-3144-0 Series: The Unintentional Adventures of the Bland Sisters, 3 (Adventure. 8-12)

Brady, Dustin & Brady, Jesse Andrews McMeel (208 pp.) $13.99 | $9.99 paper | Feb. 26, 2019 978-1-4494-9629-6 978-1-4494-9573-2 paper Series: Trapped in a Video Game, 5 (Science fiction. 8-12)

REVENGE OF THE ENGINERDS

FRIENDS DON’T EAT FRIENDS

Lerner, Jarrett Aladdin (208 pp.) $16.99 | Feb. 19, 2019 978-14814-6874-9 Series: EngiNerds, 2 (Science fiction. 9-13)

Dyckman, Ame; illus. by Magoon, Scott Branches/Scholastic (80 pp.)

Orchard/Scholastic (48 pp.) $17.99 | Jan. 29, 2019 978-1-338-11388-4

EVA AND BABY MO

EXPLORING THE GREAT OUTDOORS

Elliott, Rebecca Illus. by the author Branches/Scholastic (80 pp.) $15.99 | $4.99 paper | Feb. 26, 2019 978-1-338-29858-1 978-1-338-29857-4 paper Series: Owl Diaries, 10 (Graphic/fantasy hybrid. 6-9)

15 january 2019

SPRING SMILES

George, Kallie Illus. by Vidal, Oriol Harper/HarperCollins (32 pp.) $16.99 | $4.99 paper | Feb. 5, 2019 978-0-06-235322-1 978-0-06-235321-4 paper Series: Duck, Duck, Dinosaur (Early reader. 4-8)

DR. SNOW HAS TO GO!

ARLO FINCH IN THE LAKE OF THE MOON

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Fox, Kir & Coats, M. Shelley Illus. by Sanson, Rachel Disney-Hyperion (208 pp.) $16.99 | Jan. 8, 2019 978-1-368-00029-1 Series: Secrets of Topsea, 2 (Fantasy. 10-12)

Gutman, Dan Illus. by Paillot, Jim Harper/HarperCollins (112 pp.) $4.99 paper | $16.89 PLB | Jan. 8, 2019 978-0-06-269101-9 paper 978-0-06-269102-6 PLB Series: My Weirder-est School, 1 (Fiction. 7-10)

August, John Roaring Brook (384 pp.) $16.99 | Feb. 5, 2019 978-1-62672-816-5 Series: Arlo Finch, 2 (Adventure. 8-11)

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THE EXTREMELY HIGH TIDE!

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Mayer, Mercer Illus. by the author Harper/HarperCollins (32 pp.) $16.99 | $4.99 paper | Feb. 19, 2019 978-0-06-243145-5 978-0-06-243144-8 paper Series: Little Critter (Early reader. 4-8)

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DISASTER ON THE TITANIC

THE BATTLE OF D-DAY, 1944

Messner, Kate Illus. by McMorris, Kelley Scholastic Paperbacks (144 pp.) $5.99 paper | $17.99 PLB | Jan. 29, 2019 978-1-338-13398-1 paper 978-1-338-13399-8 PLB Series: Ranger in Time, 9 (Fantasy. 8-12)

Tarshis, Lauren Illus. by Dawson, Scott Scholastic Paperbacks (144 pp.) $5.99 paper | $16.99 PLB | Jan. 29, 2019 978-1-338-31738-1 paper 978-1-338-31739-8 PLB Series: I Survived…, 18 (Adventure. 8-12)

DOLPHINS!

MASTER OF ILLUSION

Pringle, Lawrence Illus. by Henderson, Meryl Boyds Mills (32 pp.) $17.95 | Feb. 5, 2019 978-1-62979-680-2 Series: Strange and Wonderful (Informational picture book. 8-10)

Whittemore, Jo Amulet/Abrams (256 pp.) $13.99 | Jan. 8, 2019 978-1-4197-3142-6 Series: Supergirl, 3 (Adventure. 10-14)

PLANTOLOGY

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Ross, Michael Elsohn Chicago Review (144 pp.) $15.99 paper | Feb. 5, 2019 978-1-61373-737-8 paper Series: Young Naturalists (Nonfiction. 7-12)

JANE AUSTEN FOR KIDS

Her Life, Writings and World, with 21 Activities Sanders, Nancy I. Chicago Review (144 pp.) $16.99 paper | Feb. 5, 2019 978-1-61373-853-5 paper Series: …For Kids (Nonfiction. 10-14)

THE TREASURE SEEKERS

Stilton, Geronimo Scholastic Paperbacks (320 pp.) $14.99 | Feb. 26, 2019 978-1-338-30617-0 Series: Thea Stilton: Special Edition (Adventure. 7-10)

SWAP’D

Stone, Tamara Ireland Disney-Hyperion (336 pp.) $16.99 | Feb. 5, 2019 978-1-4847-8696-3 Series: Click’d, 2 (Fiction. 8-12)

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young adult A CAVE IN THE CLOUDS A Young Woman’s Escape from ISIS

These titles earned the Kirkus Star: SHOUT by Laurie Halse Anderson..................................................... 131

Ahmed, Badeeah Hassan with McClelland, Susan Elizabeth Annick Press (248 pp.) $18.95 | Apr. 9, 2019 978-1-77321-235-7

WE RULE THE NIGHT by Claire Eliza Bartlett............................... 131 VOICES by David Elliott................................................................... 133 SOARING EARTH by Margarita Engle............................................. 133 ON THE COME UP by Angie Thomas................................................141 INK KNOWS NO BORDERS ed. by Patrice Vecchione & Alyssa Raymond..................................................................................142

This book chronicles the traumatic story of Ahmed, a young Ezidi woman who was abducted by Islamic State group forces from her village in northern Iraq and subsequently forced into sexual slavery.

Ahmed’s ordeal began at age 18, when IS’ army rolled into her native village of Kocho, thwarting her family’s attempt to seek refuge in the surrounding mountains. The village population was promptly split between the men, driven to an unknown fate, and the women and children, rounded up in a nearby school before being forced aboard trucks heading to neighboring Syria. Months of captivity in the most extreme conditions ensued before she was finally sold—alongside Navine, a friend met in captivity, and her nephew, Eivan, who she pretended was her son—to al-Amriki, an American citizen–turned-emir, a high-ranking position in IS’ military hierarchy. In a succession of fortunate circumstances and bold decisions, the trio managed to escape, first from the compound where they were held captive, and then from Syria toward a Turkish refugee camp.

Ahmed, reunited with what was left of her family, attempted to heal her wounds and rebuild her life. The first-person narration provides important context for those unfamiliar with the Ezidi. Readers will find it hard not to empathize and be moved

by Ahmed’s heart-wrenching ordeal and will likely forgive some of the book’s naïve essentialisms, plot holes, and unfortunate Eurocentrisms.

A grim but worthy read. (authors’ note, map, epilogue) (Nonfiction. 16-adult)

ON THE COME UP

Thomas, Angie Balzer + Bray/HarperCollins (464 pp.) $18.99 | Feb. 5, 2019 978-0-06-249856-4

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THE WEIGHT OF THE STARS

Ancrum, K. Imprint (384 pp.) $18.99 | Mar. 19, 2019 978-1-250-10163-1

SHOUT

Anderson, Laurie Halse Viking (304 pp.) $17.99 | Mar. 12, 2019 978-0-670-01210-7 “This is the story of a girl who lost her voice and wrote herself a new one.”

The award-winning author, who is also a rape survivor, opens up in this powerful free-verse memoir, holding nothing back. Part 1 begins with her father’s lifelong struggle as a World War II veteran, her childhood and rape at 13 by a boy she liked, the resulting downward spiral, her recovery during a year as an exchange student in Denmark, and the dream that gave her Melinda, Speak’s (1999) protagonist. Part 2 takes readers through her journey as a published author and National Book Award finalist. She recalls some of the many stories she’s heard during school visits from boys and girls who survived rape and sexual abuse and calls out censorship that has prevented some speaking engagements. In Part 3, she wraps up with poems about her family roots. The |

WE RULE THE NIGHT

Bartlett, Claire Eliza Little, Brown (400 pp.) $17.99 | Apr. 2, 2019 978-0-316-41727-3

Flight, friendship, and feminism collide in this fantasy that draws heavy inspiration from the Soviet female bomber pilots of World War II known as the Night Witches.

In this USSR-influenced world, war seems eternal. Every Union resource is dedicated to the war; women use their spark magic to power the technology that shapes living metal into war machines while men and boys die on the front. Linné, the daughter of a general who dressed as a boy to join the war, and Revna, the disabled daughter of a convicted traitor, are each angry at a world that doesn’t have a place they belong, which brings them both to an experimental women’s flight regiment. The richly textured world, painted in snow and fire, filled with disparate, diverse people who all want to win the war, is background to a powerful, slow burning story that develops Linné and Revna’s reluctant friendship, their growing understanding of the world, and their emerging identities as soldiers who may not entirely trust the country they are willing to die for. Undercurrents of religion, hypocrisy, betrayal, and honor roil beneath the alternating third-person perspectives; hints of possible romances and likely bigger battles to come seem to promise a sequel or two. Linné is bronze-skinned and Revna is pale; descriptions assume a white default.

A fierce and compelling breakout debut that should not be missed. (author’s note) (Fantasy. 13-adult)

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A high school senior discovers common ground with a new friend and develops a deep connection that changes her life.

Ryann Bird is the primary support for herself, her brother, and her nephew following her parents’ accidental deaths. They live in a trailer park, but she attends school in an affluent neighborhood where she maintains a tough exterior. A teacher asks her to befriend new girl Alexandria Macallough, whose mother volunteered for a controversial one-way trip into space sponsored by a private company, SCOUT. The girls’ relationship has a rocky beginning, including an incident in which Alexandria is seriously injured.

Seeking to make amends, Ryann involves her friends in a scheme to break into SCOUT to retrieve the messages Alexandria’s mother has sent through the years. As the plan proceeds, Ryann faces her attraction to Alexandria as well as the sacrifices she has made since her parents died. This is an unusual story—both in plot and how the narrative is tracked—that touches on sexual identity, friendship, nontraditional families, and the price of human space exploration. The characters’ resilience and vulnerability are deftly handled. Ryann and her family are white, while Alexandria is biracial (half black/half white). An observant Sikh secondary character with a Muslim given name and polyamorous parents is presented without sufficient backstory.

For readers who are drawn to the unconventional, this will be a satisfying read. (Fiction. 14-18)

verse flows like powerful music, and Anderson’s narrative voice is steady and direct: “We should teach our girls / that snapping is OK, / instead of waiting / for someone else to break them.”

The poems range in length from a pair of two-line stanzas to several pages. Readers new to Anderson will find this accessible.

It’s a strong example of how lived experience shapes art and an important book for the #MeToo movement.

Necessary for every home, school, and public library. (resources) (Verse memoir. 13-adult)

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books to raise your spirits in 2019 The New Year marks a time of fresh starts and optimism: New Year’s resolutions are a perennial sign of hope. But in order to push for change one needs to feel sustained.

Young adult literature is markedly socially aware these days, populated with books by authors who clearly care deeply about social issues and who are educating and inspiring teens about a range of topics. This is important.

However, it is easy for fatigue and overwhelm to set in—even if you’re a grown-up not contemplating spending your entire adult life on an overheated planet, in a world where inherited social injustices are deeply entrenched. A reviewer recently wrote to me: “So, this has been a looooong string of adolescent suffering and angst angst angst. I mean, some of them have been very good books, but I am about to start painting my lips and nails black and composing long poems all in lowercase letters. Please please please tell me you’ve got something fun coming up in the new year!”

We need books that entertain and replenish without striking a jarring note: The challenge with many “light” reads is that they do not always provide the escapism readers might hope for, as they can be rife with unexamined stereotypes or populated with unrealistically nondiverse casts which serve as reminders of how far we have yet to go.

Fortunately, there are a few new titles out that provide pure reading pleasure: The Disasters by M.K. England (Dec. 18) features a delightfully, multidimensionally diverse cast of talented teens on a fast-paced, high-stakes romp through space, trying to save the Earth on the eve of the 22nd century.

Those who enjoy romance need look no further than the swoonworthy 96 Words for Love, by Rachel Roy and Ava Dash (Jan. 15), set on an ashram in the Himalayas and featuring a main character of Indian and African-American descent.

A Curse so Dark and Lonely by Brigid Kemmerer (Jan. 29) is a lush, vibrant fantasy starring that rarest of characters, a protagonist whose disability is just another part of her whole being, not merely a tool to inspire others or provoke pity.

Keep up the good fight, but don’t forget self-care too. —L.S. Laura Simeon is the young adult editor.

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YOU OWE ME A MURDER Cook, Eileen HMH Books (352 pp.) $17.99 | Mar. 5, 2019 978-1-328-51902-3

Travel changes people, and one young woman is about to find this out the hard way.

Vancouver, British Columbia, teen Kim Maher is embarking on a trip many kids her age only dream of: 16 days in London. However, Kim hasn’t even boarded the plane and she’s having a rotten time, watching her ex-boyfriend, Connor, getting cozy with his new girlfriend. Then Kim meets fellow passenger Nicki, a daring and worldly Brit. To pass the long flight, Nicki suggests they each make a list of things they hate about the person who makes them most miserable. For Kim, it’s Connor; for Nicki, her alcoholic mother. Nicki has a proposal to deal with their respective problems: “I kill your ex. You kill my mum. We both get what we want,” she blithely tells an incredulous Kim. A few days later, Connor is dead, having fallen under a London Underground train. Kim’s suspicions are confirmed when Nicki shows up wanting her to return the favor. Kim is an unreliable narrator from the get-go, admitting to readers she lies for the sake of self-preservation. Twists and turns and lots of ratchetedup tension drive the story forward. Nicki’s lack of morals is disturbing and diabolical. Two important secondary characters are brown; assume whiteness elsewhere except for the passing mention of a few nonwhite background players.

An intriguing thriller. (Mystery. 13-17)

ANARCHY The Hunger Games For A New Generation DeVos, Megan Orion/Trafalgar (400 pp.) $13.99 paper | Mar. 19, 2019 978-1-4091-8384-6 Series: Anarchy, 1

Civilization has been destroyed, but Grace and Hayden have found each other.

Years after a massive war, a formerly thriving metropolis is in rubble, its remaining goods guarded by violent Brutes. Scattered outside the city are villages of survivors who play a constant game of raid or be raided, kill or be killed.

None of them have learned to produce much, so they obtain alcohol, fuel, and munitions through raids. On a scavenging trip, Hayden, the leader of the deadly Blackwing camp, saves and ultimately kidnaps the wounded, beautiful Grace, never expecting that that they are going to fall for each other. The plot unfolds in alternating Grace-Hayden perspectives and requires strenuous suspension of disbelief; for example, medical supplies still exist in rather ample supply in the decimated city. Raid scenes are interspersed with make-out sessions between Grace and

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Hayden and very explicit hand jobs that never lead to actual intercourse. The narrative dabbles with erotic dominance, as when the two physically tussle: “My cheek pushed against the rough bark while his hands gripped my wrists against my lower back...I shivered when his lips tickled against my ear when he spoke, and I hated myself for liking it.” Hayden and Grace both embody a combination of cardboard-cutout stoicism and vulnerability. All characters are white.

Dystopian clichés rife with violence and trite romance.

(Dystopian romance. 15-18)

VOICES The Final Hours of Joan of Arc Elliott, David HMH Books (208 pp.) $17.99 | Mar. 26, 2019 978-1-328-98759-4

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Young People’s Poet Laureate Engle (A Dog Named Haku, 2018, etc.) explores her tumultuous teenage and early adult years during the equally turbulent late 1960s and early 1970s.

This companion memoir to her award-winning Enchanted Air (2015) is written mostly in free verse with a spot of haiku and tanka. This is a lonely dreamer’s tale of a wayward yet resourceful young woman who zigzags to self-discovery amid the Vietnam War, Delano grape strike, moon landing, and other key historical events. Dreaming of travel to far-off lands but without the financial resources to do so, she embarks on a formal and informal educational journey that takes her from Los Angeles to Berkeley, Haight-Ashbury, New York City, and back west again. With Spanish interspersed throughout, Engle speaks truthfully about the judgment she has faced from those who idealized Castro’s Cuba and the struggle to keep her Spanish alive after being cut off from her beloved mother’s homeland due to the Cold War. Employing variations in line breaks, word layout, and font size effectively, Engle’s pithy verses together read as a cohesive narrative that exudes honesty and bravery. While younger readers may not recognize some of the cultural references, themes of dating, drugs, and difficulty in college will resonate widely. Finding one’s path is not a linear process; thankfully Engle has the courage to offer herself as an example.

Hopeful, necessary, and true. (author’s note) (Poetry/ memoir. 13-adult)

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A multivoiced verse retelling of the last day of Joan of Arc’s life.

Interspersed with snippets from the transcripts of the Trial of Condemnation and Trial of Nullification are monologues in verse from the individuals surrounding Joan, in actuality or in memory, on the last day of her life. The expected characters are there—Charles VII, her mother, the saints who guided her—but also other, unexpected, choices—the fire, the arrowhead that pierced her shoulder, her hair, her virginity. The title cleverly alludes to both the voices that guided Joan and the cacophony of voices in the book, all of whom take various forms that heighten their individual personality. There is concrete poetry as well as poetic forms popular during and after Joan’s time: the villanelle, the sestina, the rondeau, and the ballade. Joan herself is ethereal, wondering, and poignant. The conceit works; the variety of voices and compelling verse bring the story to life and heighten the pathos of Joan’s death. Among her last words: “...the penetrating / pain will be my ecstasy in / knowing I was true; there is nothing / I have done that I would alter / or undo.” Compelling for pleasure reading, this will also be a valuable addition to language arts lessons.

An innovative, entrancing account of a popular figure that will appeal to fans of verse, history, and biography. (preface, map, author’s note, list of poetic forms) (Historical verse novel. 13-adult)

SOARING EARTH

Engle, Margarita Atheneum (192 pp.) $18.99 | Feb. 26, 2019 978-1-5344-2953-6

UNDAUNTED

Falls, Kat Scholastic (384 pp.) $17.99 | Mar. 26, 2019 978-0-545-37102-5 Series: Fetch, 2 Five years in the making, this sequel to Inhuman (2013) is dedicated to “the readers who waited.”

It’s been six months since 17-yearold Lane McEvoy returned to the safety of the West from the dark chaos of the Feral Zone. Now, Lane must return to the land of her nightmares with her father, who has been hired to fetch blood samples from those infected with the Ferae virus so scientists can complete development of a vaccine. The 50 types of virus strains cause sufferers to mutate into lions, apes, a Komodo dragon, and other animal forms. When Lane arrives in the East, she discovers no one has seen broody heartthrob Rafe, who was infected just before Lane returned home. She’ll ally herself with old friend Everson and a group of

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Exciting, heartbreaking, and far from ordinary. when the sky fell on splendor

fierce lion-women in order to track him down. And when she finds him, Lane might have to carry through on her promise to end his life if he’s gone feral. There’s a lot going on in terms of events and character development but Falls makes it work.

The action unfolds evenly and swiftly: Rafe’s and Everson’s respective histories are revealed, and narrator/protagonist Lane remains strong and steady even as she struggles with the PTSD resulting from her previous time in the zone. All characters, except one minor secondary character who has dark skin, are assumed white.

A conclusion worth waiting for. (Dystopian adventure.

12-18)

THE WITCH’S TOWER

Grantham, Tamara Clean Teen (300 pp.) $10.95 paper | Mar. 11, 2019 978-1-63422-334-8 Series: Twisted Ever After, 1

This reimagining of “Rapunzel” is recounted by the young witch, Gothel, charged with her safekeeping.

Five years locked in the tower have taken a toll on both girls. Princess Rapunzel, weighed down by her ever growing tresses, is falling into madness—Gothel’s found rat bones in her hair. Yet when a prince arrives, determined to break the spell and marry Rapunzel, Gothel feels torn. Her own mother, who’d laid the spell, was killed by Rapunzel’s father, the high sorcerer who made Gothel his daughter’s caregiver. Gothel knows Rapunzel’s rescue foretells nothing good for her. On reaching Rapunzel, the prince falls into an enchanted sleep, and his handsome squire, Raj, persuades a reluctant Gothel to help him awaken the prince, but she explains they must first obtain the magical shears possessed by her aunts—powerful, dangerous witches in a distant castle—that can cut Rapunzel’s hair. On their hazardous journey they’re joined by a shape-changing dwarf in search of his name and a slightly dissolute dark elf with a magical lute. Beset by sand demons, a dragon, and mounting perils, Raj and Gothel fall in love. While Rapunzel and Gothel’s people are light-skinned, Raj is an Outlander, a member of a group of desert dwellers who embody tired Orientalist tropes. If trite romance clichés abound, so do welcome plot twists that reinvigorate the proceedings.

Look past stale tropes to enjoy a sparkling fantasy. (Fan­ tasy. 12-14)

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WHEN THE SKY FELL ON SPLENDOR

Henry, Emily Razorbill/Penguin (384 pp.) $17.99 | Mar. 12, 2019 978-0-451-48071-2

Five years after a steel mill explosion in Splendor, Ohio, six teens gain unusual abilities when they get too close to a UFO crash.

The Ordinary are Franny and her brother Arthur, Sofia, Remy, Levi, and Nick, brought together after they lost loved ones in the explosion and its aftermath.

Franny and Arthur’s brother, Mark, is still in a coma, and their mother has left them. While filming “Ghost Hunters,” a new episode of their mockumentary web series, a disc-shaped object crashes, engulfing them in brightness. Soon, Franny’s having a weird effect on electronics and believes she may be inhabited by an alien, but she’s not the only one experiencing unusual things: Remy is having visions of the end of the world, and Nick develops incredible musical talent. Franny’s scary next-door neighbor, who was blamed for the industrial accident, is acting even weirder than usual, and the FBI is after them. Can they save each other and the world? The alien mystery is compelling, but this story’s heart beats with Franny and her friends. Franny’s recollections of her family before the tragedy are poignant, and Henry (A Million Junes, 2017, etc.) tackles profound loss and grief with sensitivity while emphasizing the preciousness of human connection in this vast and wondrous universe. Sofia’s family is from Mexico City, Remy is implied Japanese-American, and other main characters are assumed white.

Exciting, heartbreaking, and far from ordinary. (Fiction.

12-18)

THE DEVOURING GRAY

Herman, Christine Lynn Disney-Hyperion (368 pp.) $18.99 | Apr. 2, 2019 978-1-368-02496-9 Series: Devouring Gray, 1

A parallel-dimension prison for a horrific evil is linked to a small town’s founding families in this riveting debut.

Still grieving her sister’s death, Violet’s life is further uprooted when her mother suddenly moves them back to Four Paths, her hometown. The town goes beyond quirky into odd territory, especially in the way the children of the founders’ families are exalted. Violet learns she’s from one such family, as fellow descendants Justin, Harper, and Justin’s hostile, volatile best friend, Isaac—with lots of bad blood between them—each try to woo her to their side. Justin believes Violet could be key to protecting the town from the Beast imprisoned in the Gray; Harper doesn’t want to see Violet betrayed by Justin like she

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was. Each of the four families has magical gifts to protect the townspeople from the Beast, now killing at greater frequency.

Violet needs to find her family ritual in order to control her disturbing gift and stop the dangerously strange things happening to her; to do so, she must uncover a devastating family history and navigate all the founders’ secrets. The third-person narration hops between characters without a structural pattern, allowing for cinematic cuts between simultaneous action and expertly manipulated reveals. While light on romance, multiple bisexual characters have a variety of storyline outcomes; the primary characters default to white.

Complex characters and creepy concepts will leave readers chomping for the next volume. (Paranormal/horror.

12-adult)

IN ANOTHER LIFE

Jahn, Amalie Light Messages (286 pp.) $15.99 paper | Mar. 19, 2019 978-1-61153-264-7

In Jahn’s (Beyond the Sanctified, 2017, etc.) latest, a teenage farm girl’s move to the East Coast teaches her about friendship, diversity, love, and herself.

Tess is deeply attached to her Iowa life, particularly her best friend, Zander, the family farm, and their cows. Finances force a difficult decision to sell the farm; her dad is re-enlisting in the Army to help in Syria. Tess is anxious about moving to North Carolina and starting over socially; even in her small Iowa school, she’s found it difficult to connect with people. The sheer size of her new high school is overwhelming, but Leonetta, a black girl assigned to help Tess (who is white) find her way around, quickly befriends her. Their bond grows to include Summer, who is

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Hunter, C.C. Wednesday Books (352 pp.) $18.99 | Mar. 26, 2019 978-1-250-31227-3

THE NEXT TO LAST MISTAKE

Chloe’s life is falling apart.

Her dad has a girlfriend, her mom is suffering from depression and the aftermath of cancer, and she’s had to move with her mom to the town of Joyful, Texas, where she has only one friend, Lindsey, whose mother is lesbian. When she meets Cash, things seem to be looking up. But Cash comes with a host of complications, not the least of which is the fact he’s convinced that Chloe is the same girl his foster parents had kidnapped from them as an almost-3-year-old. But how could that be? Chloe’s parents love her and have never hidden the fact she was adopted.

As the two of them dive deeper into the mysteries of the past and the dangers of the present, they also dive deeper in love.

But can their fledgling romance survive the onslaught of brutal reality? Hunter (This Heart of Mine, 2018, etc.) deftly delivers a complicated back-and-forth point of view between Chloe and Cash, building suspense along with a steamy sense of attraction between the two teens. Occasionally the plot and dialogue feel canned and forced, sprinkled with clichés and tired exclamations such as, “I swallow the lump in my throat and jerk back, removing my B cup boobs from some guy’s chest.” The book assumes a white default.

An entertaining tale that breaks no new ground.

(Romance. 15-17)

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white, and Alice, who is black. Being part of a group of supportive, caring friends is a new and wonderful experience for Tess.

Tess is shocked and dismayed to witness the injustices her black friends face on a regular basis, and there are moments when she makes insensitive and uninformed remarks. These potentially impactful scenes—it seems Tess experiences a revelation every day—are ruined by explicit analysis, melodrama, lack of tension, or predictability. As the characters lack depth, major plot revelations fall flat as well.

Packed with overexplained life lessons, this book is an earnest attempt to do too much. (Fiction. 14-17)

SOME GIRLS BIND

James, Rory West 44 Books (200 pp.) $19.95 | Feb. 1, 2019 978-1-5383-8254-7 Series: YA Verse A genderqueer teen claims their identity and comes out to the people they love in this novel in verse for reluctant readers.

Sixteen-year-old Jamie wears a tootight vest to bind their chest beneath their baggy clothes. Neither “boy” nor “girl” feels right to them, but they worry about who they will become if they don’t fit inside the binary. With the encouragement of their best friend, Levi—a Jewish, cisgender, gay teen—Jamie seeks out the language to describe themself and gains the courage to share who they are with family and friends. The title, which misgenders the main character, mischaracterizes this otherwise sensitive, free-verse exploration of gender identity. Finding representation and community plays an important role in Jamie’s self-discovery. Their experience coming out to their older brother, Steve, and parents is refreshingly hopeful. Steve doesn’t always use affirming language. When describing his transgender roommate, he says, “Charlie was born / as a female biologically, / but he identifies as male.” However, he behaves as an advocate for Jamie with their parents and helps Jamie access a safer way to bind their chest.

While Jamie has an overall positive experience with their family, James still acknowledges the challenges that come with living in a society that enforces a gender binary. Characters seem to follow a white default.

A coming-out story full of love and affirmation that encourages identity exploration. (Verse novel. 12-18)

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MISTER MIRACLE

King, Tom Illus. by Gerads, Mitch DC Comics (300 pp.) $24.99 paper | Feb. 19, 2019 978-1-4012-8354-4 A superhero strives for stasis between his life on Earth and fighting an interdimensional war.

Scott Free, son of the otherworldly Highfather, was raised in the hellish pits of Apokolips as the son of villainous Darkseid in an attempt to foster peace between warring factions. Scott eventually flees the infernal torture, relocating to Earth and assuming the mantle of Mister Miracle, escape artist. Scott marries his love, Big Barda, who shared the same tormented upbringing in Apokolips, and the two begin a family. As the war between Highfather and Darkseid intensifies, Scott navigates the minutiae of marriage, fatherhood, and identity alongside the unrelenting and gruesome war in his home dimension. Comics veterans may recognize Mister Miracle from stints with the Justice League, however this volume that collects a 12-issue narrative arc is also a fine jumping-in point for comics neophytes; even the in-jokes are easily accessible. Tackling issues like suicide, parenting, and war, this offering is better suited for older readers; be sure to get it into the hands of those who enjoy Brian K. Vaughan’s Saga series. While diversity is nearly nonexistent (as most characters are white), the dynamic between Scott and Barda is refreshing; they are a healthy couple who not only communicate well, but also share bloody battles and diaper changes equally.

A solid stand-alone that should have broad teen and adult appeal for those seeking more unusual cape-andtights fare. (Graphic science fiction. 14-adult)

FAKE PLASTIC GIRL

Lisbon, Zara Henry Holt (288 pp.) $17.99 | Mar. 26, 2019 978-1-250-15629-7 Series: Fake Plastic Girl, 1

Jaded teens, tabloid travails, and murder, oh my!

Early in Lisbon’s novel it’s clear that 17-year-old former child star Eva-Kate Kelly is dead, and 16-year-old Justine Childs, obsessive Taylor Swift fan and daughter of a celebrity therapist, wants readers to know that she didn’t do it. Justine has lightly rubbed elbows with celebrities all her life, but to her enduring agony, she’s never truly been a part of that world.

When emancipated Eva-Kate becomes her new Venice Beach neighbor, star-struck Justine, whose mom is on vacation, is free to enter Eva-Kate’s world—and it’s a strange one. Eva-Kate makes Justine her new bestie, introduces her to oodles of drugs and alcohol, and plays plenty of mind games. The alternately

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Anything is possible in this world of cloaks and daggers. killing november

naïve and world-weary Justine is enthralled with the dynamic Eva-Kate and may not be a trustworthy narrator. After all, Justine mentions that she’s on medication and has spent time in a psychiatric ward, although she elaborates little. Of course, Justine discovers that Eva-Kate has been keeping an explosive secret. Soon after, Eva-Kate is dead, and Justine is the main suspect. Frustratingly, readers hoping to delve into Eva-Kate’s murder and the aftermath will have to wait until the next book.

All main characters assume a white default.

A salaciously entertaining debut that is also a disturbing and often depressing look at celebrity obsession, scandal, and teen angst, lit with a lurid sheen of Hollywood noir.

(Fiction. 14-18)

KILLING NOVEMBER

Mather, Adriana Knopf (416 pp.) $17.99 | Mar. 26, 2019 978-0-525-57908-3

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Paige, Danielle DC Ink (192 pp.) $16.99 paper | Apr. 2, 2019 978-1-4012-8339-1

A feisty undersea princess must choose between love and duty.

Bestselling author Paige (The Queen of Oz, 2017, etc.) reinvents Mera, the fierce, fiery-tressed heir to the throne of Xebel, an undersea realm ruled by the Atlanteans. The Xebellians yearn to be free of the Atlantean reign and plot to kill their missing royal heir, Arthur Curry (also known as Aquaman), who has been living among the humans. Singularly focused Mera comes to the surface to murder him but is ultimately touched by his intrinsic kindness. As Xebel and Atlantean tensions crescendo and romantic feelings grow, will Mera be able to slaughter the boy she now loves? Paige has rendered a sassy, take-no-prisoners heroine who may look like Disney’s Ariel but who is imbued with grit and substance. Artist Byrne’s tidy illustrations utilize a spare color palette, with cool gray marine tones save for the dramatic splashes of Mera’s red hair. Arthur and Mera’s backstory in the DC Universe is rather intricate, and while this volume explains it as well as possible, certain details are still a bit hazy. Those turned off by insta-love may want to pass; Mera and Arthur’s relationship and its ensuing tension are easily foreseen. Nearly all main characters are white and straight, however secondary and background characters portray a sampling of different skin tones and orientations.

Though a bit convoluted, this mashup puts a fresh spin on a lesser-known superhero. (Graphic fiction. 12-18)

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Subterfuge is the name of the game at an elite and secretive prep school.

Seventeen-year-old Italian-American November was born in August. Though she tragically lost her mother at age 6, she has an enviable life in small-town Connecticut, a strong relationship with her dad, and a mentor in her Aunt Jo. That is until, due to a family emergency, her father sends her away to a covert boarding school. Instead of mathematics and literature, students at the Academy Absconditi learn how to wield weapons both physical and psychological, and history is taught so they might manipulate the future. Guileless November quickly allies herself with her studious Egyptian roommate, Layla, and Layla’s handsome brother, Ash. When a fellow student turns up dead, November must expose the truth, including her own connection to the victim and the influential Council of Families, while navigating a minefield of misinformation. The first-person narration is unreliable due to the protagonist’s ignorance of the society in which she moves, while surreptitious behavior by the supporting characters forces the reader to be as wary as November ought to be. Revelations are well-paced, though astute readers are apt to pick up several of the dropped clues (but some are dropped and not resolved).

Red herrings or possible threads that will be woven into future plots? Anything is possible in this world of cloaks and daggers.

A strong beginning that will leave readers hungry for more. (Thriller. 14-18)

MERA Tidebreaker

THE TESLA LEGACY

Perez, K.K. Tor Teen (368 pp.) $17.99 | Mar. 12, 2019 978-1-250-08489-7

A girl discovers the migraines and seizures she has experienced since childhood might actually be a unique genetic mutation capable of bestowing spectacular powers.

After being home-schooled because of her epilepsy, science geek Lucy Phelps desires everything that her senior year at a regular school promises: first love, prom, and graduation. All that becomes compromised when her attempt to repair a damaged photograph of herself as a toddler reveals a hidden message, leading her to the New Yorker Hotel and Room 3327 in search of answers. Once there, she inadvertently unlocks Nikola Tesla’s secret lab, setting off a chain of events that alters the course of her year and, perhaps, the direction of her life. Murderous alchemists woven in with a Faraday cage and references to classical literature, science, and history make for a page-turning read. However, the relationship that

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INTERVIEWS & PROFILES

Rachel DeWoskin

SOMEDAY WE WILL FLY IS A BEAUTIFULLY NUANCED EXPLORATION OF A CULTURE MANY IN THE WEST DON’T KNOW ABOUT

By James Feder

Rachel DeWoskin, who teaches creative writing at the University of Chicago, has been many things throughout her life: a critically acclaimed writer and poet, the star of a Chinese soap opera (“without talent or qualifications,” she stipulates, “other than my being a Western girl living in China in 1994”), and a professor.

But she is also a Jew who spent formative years in China, and it is that experience that led to her new novel, Someday We Will Fly (Jan. 22).

DeWoskin has spent her life shuttling between China and the United States, “and China has always been a part of my imaginary landscape,” she says. Indeed, it was in Shanghai in 2011 that she came across something 138

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unexpected that got the cogs of her imagination spinning. It was a photograph of a boys’ table tennis team displayed in the Shanghai Jewish Refugee Museum.

These were people, DeWoskin explains, who had fled Nazi-occupied Europe, who had endured unimaginable hardship along the journey and suffered loss, and yet, “they put together a school for their kids, and then they put together a table tennis team for their kids, and then they made T-shirts. Those embroidered T-shirts seemed to me to signify the ability of human beings to create meaningful childhoods for their kids no matter how horrific their contexts became.”

As World War II dragged more and more of the world into conflict, Jews desperately attempted to flee the European Holocaust that would eventually consume 6 million of their fellow Jews. There are tragic and well-documented cases of refugees being denied entry to countries like Canada, the United States, and Cuba— stories that end with Jews being forced to return to Europe, where many of them eventually perished. But a fact not widely known in the West is that tens of thousands of European Jews found refuge in Shanghai, a city then occupied by Germany-aligned Japan. “It’s much more well-known there than it is here,” DeWoskin says, “and there’s a tremendous amount of affection for and solidarity with Jewish people in China.”

Lillia finds herself there after she manages to escape Poland with her father and younger sister. Arriving in Shanghai after weeks at sea, an exhausted Lillia steps out into a city teeming with an unfamiliar type of life, crowded with Chinese locals, Japanese soldiers, and rickshaws, filled with previously unknown smells

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develops between Lucy and alchemist Ravi Malik, a 21-year-old Brit of assumed Indian descent posing undercover as a high school teaching assistant, crosses professional teacher-student boundaries and feels a bit tone deaf given the story’s contemporary setting. A white default is assumed for most characters, though some members of the rival alchemist factions are ethnically diverse, and Claudia, Lucy’s best friend, is gay.

Mostly an electrifying fantasy/sci-fi hybrid with unexpected revelations but one that unfortunately feels disconnected from the current conversations. (Science fiction. 14-18)

RUSE

Pon, Cindy Simon Pulse/Simon & Schuster (304 pp.) $18.99 | Mar. 12, 2019 978-1-5344-1992-6 Series: Want, 2 In a polluted future, Zhou and Lingyi must overcome guilt over their friend’s death and stop a corrupt CEO from taking more lives.

In this sequel to Want (2017), Taiwanese Jason Zhou and Lingyi and their international group of street-wise, technology-savvy friends have destroyed Jin Corp’s headquarters in Taipei; Jin, the company’s multibillionaire leader, has returned to China. Their victory came at a high price: One of their group was killed while following Lingyi’s orders and Zhou was captured and unable to save him. Zhou finds solace in his secret relationship with Daiyu, Jin’s daughter, while Lingyi copes with recurring nightmares that even her girlfriend cannot defend against. Nevertheless, when Jany, Lingyi’s old friend in Shanghai, asks for her help, Lingyi responds at once. But when Jin has Jany murdered in order to steal her designs and prototype for a highly advanced air filter, Lingyi and her girlfriend turn to Zhou for help. Reunited, they return to their (occasionally unbelievable) skills in hacking and brawling to attempt to reclaim the air filter and strike another blow against Jin. But the group finds they cannot succeed without the help of Daiyu, someone even Zhou, possibly blinded by love and lust, has to agree is hiding things. While the central villain remains constant, Pon delves into relationships both romantic and platonic to balance the otherwise fast pace.

An action-packed thriller, grounded in a futuristic Taiwan, with a strong dose of romance. (Science fiction. 13-17)

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and new languages. “It’s almost unimaginable how unfamiliar that context must have felt,” DeWoskin says, and yet added to it all was the overwhelming sense of fear and hope centered around her mother, who had been mysteriously separated from the family just before their departure. The characters that DeWoskin creates around Lillia are nuanced and complicated and thoughtful.

But this was a story that was always going to revolve around a young girl. “My original inspiration was pictures of children, so it was natural,” DeWoskin says.

And teenagers make remarkably interesting narrators.

“I wanted to see someone who was coming of age, who was old enough to be utterly conscious of her loss and her surroundings and her responsibility to her family and also who hasn’t completely formulated her identity in the world yet.”

What the reader is left with is a scrappy young narrator who struggles—and succeeds—in helping her family survive incredible hardship even as she learns to navigate the tricky landscape of school rivalries and first romances. And her resilience, whether born through her youth or rooted in something more personal, allows her to stitch together an understanding of her life and place in the world through artistic expression. “We survive by way of art,” DeWoskin says.

“We keep our spirits and our minds intact by way of art, both consuming it and creating it.”

I DON’T WANT TO BE CRAZY

Schutz, Samantha Scholastic (288 pp.) $9.99 paper | Mar. 26, 2019 978-1-338-33749-5

In a reprint of her 2006 verse memoir, Schutz (You Are Not Here, 2010, etc.) details her journey working through and accepting her panic disorder in her teens and early 20s.

When Schutz, who is white and Jewish, left home for her first year at her small, liberal arts college, she didn’t anticipate that her experience would be hijacked by anxiety disorder. Almost immediately, however, she began to have overwhelming panic attacks that drastically disrupted her life. While she quickly gained access to therapy and medication, her mental health was still shaky. Medications were hit and miss; panic attacks came and went; studying abroad became excruciatingly difficult. She began the long, hard, nearly endless work of coping with her anxiety and panic, her on-again, off-again relationships with boys, the ebbs and flows of friendships, and trepidation at managing everyday life as a college student. A rapid conclusion may leave readers feeling cut short, but an author’s note provides insight into Schutz’s life post-book and includes mental health resources. Schutz relays the internalized shame she experienced with honesty. However, filled with telling rather than showing, Schutz’s free verse falls flat and comes across as neither truly raw nor finessed. Oppressive vocabulary is used without contextualization or critique (“retarded,” “slut,” “crazy,” “handicapped”), which contributes to aspects of the book feeling outdated rather than just set during the early 2000s.

Authentic but underwhelming. (author’s note) (Verse memoir. 13-18)

LADY SMOKE

Sebastian, Laura Delacorte (512 pp.) $18.99 | Feb. 5, 2019 978-1-5247-6710-5 Series: Ash Princess, 2 A rebel queen fans the sparks of revolution.

Picking up immediately after the events of Ash Princess (2018), Sebastian’s expansive sequel finds young Queen Theodosia—her title newly reclaimed—fleeing her country and throne. With her people still enslaved, Theo will need allies and an army to free them, and her aunt, the fierce and manipulative pirate Dragonsbane, insists that the only way to acquire either is if Theo marries—something no queen has ever done in Astrea’s history. Wracked by nightmares, guilt, and fear that she is losing herself (and more), Theo balks but, with few options open to her, grudgingly agrees to meet with suitors at a grand invitational hosted by the king of the opulent Sta’Crivero. Readers 140

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looking for further immersion and expansion of Theo’s world will not be disappointed here. The narrative suffers marginally from lengthy details picked up and soon put back down with no real service to plot or character development, but Theo’s firstperson narration remains enthralling with emotional immediacy as she learns more and more about her world and the people (and cruelty) within it. Vengeance, political corruption, and mystery are the main drivers, and questions of trauma, empathy, and sacrifice hold the reigns as Theo grapples with emergent magic, inconvenient romances, and the crushing weight of her choices as a leader.

Packed to the brim with intrigue and the promise of a third installment. (maps) (Fantasy. 14-17)

TRAVEL DIARIES OF THE DEAD AND DELUSIONAL

Taylor, Lauren Nicolle Clean Teen (325 pp.) $10.95 paper | Feb. 18, 2019 978-1-63422-320-1

Grief propels two teens on a reckless road trip.

To better understand his long-gone biological mother, Anna, 18-year-old Tupper, a white Midwestern football player and soulful artist, retraces her epic last journey, equipped with her old car and cryptically annotated cartoon-illustrated map. In Utah, he picks up teenage hitchhiker Langley, recently escaped from a psychiatric ward. Haunted by her sister Sarah— although the ghost’s independent existence and sentience remain frustratingly ambiguous—half-Malaysian/half-white Langley travels with Tupper and serves as the jock/artist’s Manic Pixie Dream Girl and melancholy muse. Working through their abandonment issues, the teens find feverish romance but little real familial resolution. Anna shares narrative duty with Tupper and Langley, her addiction-fueled descent unfurling in reverse chronology, but her chapters provide no character depth. Additionally, Langley often reads like an object for Tupper’s affection rather than a complex, fully realized person. Overcrammed with issues—sexual harassment, mental illness, addiction—and punctuated by the illogical (occasionally illegal) grand dramatic gestures of a rom-com, the teens’ tale reads as TV-movie fodder rather than a realistic journey of self-discovery or a sensible, sensitive coming-of-age. But Taylor’s (Hiro Loves Kite, 2018, etc.) biggest obstacle is trying to convey graphic-novel artwork and conventions through plain prose, resulting in all tell, no show.

A torrid if trite travelogue. (Romance. 14-18)

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The prose sings on the page as the narrative demonstrates Thomas’ undeniable storytelling prowess. on the come up

ON THE COME UP

Thomas, Angie Balzer + Bray/HarperCollins (464 pp.) $18.99 | Feb. 5, 2019 978-0-06-249856-4

CAPTURED An American Prisoner of War in North Vietnam Townley, Alvin Scholastic (256 pp.) $18.99 | Mar. 26, 2019 978-1-338-25566-9

An imprisoned American naval officer remains steadfast throughout his captivity in North Vietnam.

Shot down during a routine bombing run in 1965, naval aviator and white Alabama native Cmdr.

Jeremiah “Jerry” Denton finds himself fighting on a completely unexpected front. Despite the persistence of his North Vietnamese captors, Denton clings to the American military’s Code of Conduct for captured service members. He and other senior officers hold strong against an onslaught of physical and psychological torture, organizing a growing number of POWs to maintain a sense of unity and morale. This incredible tale of |

THE PIONEER

Tyler, Bridget HarperTeen (368 pp.) $17.99 | Mar. 5, 2019 978-0-06-265806-7

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This honest and unflinching story of toil, tears, and triumph is a musical love letter that proves literary lightning does indeed strike twice Thomas’ (The Hate U Give, 2017) sophomore novel returns to Garden Heights, but while Brianna may live in Starr’s old neighborhood, their experiences couldn’t differ more. Raised by a widowed mother, a recovering drug addict, Bri attends an arts school while dreaming of becoming a famous rapper, as her father was before gang violence ended his life. Her struggles within the music industry and in school highlight the humiliations and injustices that remain an indelible part of the African-American story while also showcasing rap’s undeniable lyrical power as a language through which to find strength. Bri’s journey is deeply personal: small in scope and edgy in tone. When Bri raps, the prose sings on the page as she uses it to voice her frustration at being stigmatized as “hood” at school, her humiliation at being unable to pay the bills, and her yearning to succeed in the music world on her own merit.

Most importantly, the novel gives voice to teens whose lives diverge from middle-class Americana. Bri wrestles with parent relationships and boy drama—and a trip to the food bank so they don’t starve during Christmas. The rawness of Bri’s narrative demonstrates Thomas’ undeniable storytelling prowess as she tells truths that are neither pretty nor necessarily universally relatable.

A joyous experience awaits. Read it. Learn it. Love it.

(Fiction. 13-adult)

endurance, which Townley explores at greater length in his adult title Defiant (2014), stands alone for avid readers of war stories.

More critical readers, though, may look elsewhere for a more complex view of the conflict and its survivors. The author’s habit of noting race only in relation to the very few nonwhite prisoners mentioned, along with a tendency to attribute inconsistently stilted English dialogue to the Vietnamese interrogators, will trouble some. One randomly placed text feature on the POW-MIA movement by families at home and a few odd explanatory references distract from the narrative, which teeters at points from textbook to hagiography. Still, the inclusion of photos and maps will help keep genre fans reading.

Appealing to war-story aficionados, this fulsome telling feels thin. (maps, bibliography, endnotes, index) (Nonfiction. 12-18)

In Tyler’s exciting debut, space colonists discover they’re not alone after landing on a planet thought to be uninhabited.

Seventeen-year-old cadet pilot Joanna Watson, along with her parents, brother, Teddy, and sister, Beth, are part of the Galactic Frontier Project, preparing to set off for the Earth-like and, most importantly, uninhabited Tau Ceti e. After Teddy is killed in an accident that leaves Jo with nanomachines powering her heart, she can no longer fly. Soon after they arrive on Tau, Joanna and her friends, including love interest Jay Lim, are attacked by plantlike creatures who are at war with a humanoid race called the Sorrow.

The powers that be, including Jo’s mom, were aware that Tau was inhabited, which flies in the face of everything they’ve been taught. Finding themselves in the middle of a brutal fight, and desperate to avoid the mistakes of the past, Jo and her friends must make hard decisions in the face of Earth’s possible demise.

Tyler’s crowd-pleasing and lightning-paced cautionary tale beautifully captures the wonder of discovery while building plenty of suspense, and it’s easy to fall for the intrepid, pragmatic Jo, who narrates. It also has plenty to say about humanity’s impact on the environment without being preachy. Jo and her family are white, Jay is Korean-American, and diversity can be found throughout the supporting cast. A cliffhanger ending promises more to come.

A stellar adventure. (Science fiction. 12-18)

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A richly detailed coming-of-age fantasy epic. the beast player

THE BEAST PLAYER

Uehashi, Nahoko Trans. by Hirano, Cathy Henry Holt (352 pp.) $19.99 | Mar. 26, 2019 978-1-250-30746-0

Can humans bridge the gulf that separates them from beasts? Is it love that binds all sentient life—or fear?

In this translation of the first entry in international-award–winning Japanese author Uehashi’s (Moribito, 2014, etc.) hit series, 10-year-old Elin idolizes her mother, a skilled beast doctor for Toda, fearsome battle serpents. When some Toda die mysteriously, Elin’s mother is sentenced to death. Elin escapes and finds a kind beekeeper in the mountains who raises her as his own. As she grows into adulthood, she discovers her love for all living creatures and a unique gift for communicating with the magical Royal Beasts.

But the nation’s political structure is fragile. Soon Elin is thrust into deadly civil conflict and must decide whether to use her beloved animal friends as tools of war. The author creates complex societies and fantastical creatures with imaginative, immersive detail. In a refreshing change for Western readers, the central issue hinges on neither individual power nor romantic love but kindness balanced against responsibility, and the narrative jumps among the perspectives of numerous characters in a more digressive style than they may be accustomed to. It’s lovely to watch Elin blossom from a quiet, curious child into a compassionate, thoughtful young woman with a steadfast moral compass—even if that compass sometimes leads her astray.

A richly detailed coming-of-age fantasy epic that rewards the patient and contemplative reader. (Fantasy.

13-adult)

INK KNOWS NO BORDERS Poems of the Immigrant and Refugee Experience

Ed. by Vecchione, Patrice & Raymond, Alyssa Triangle Square Books for Young Readers (156 pp.) $15.95 paper | Mar. 12, 2019 978-1-60980-907-2 A compilation of 65 poems that offer diverse and distinct narratives about the immigrant and refugee experiences.

From being the child of immigrants to being a child immigrant, this collection contains stories of those pursuing the American dream—which sometimes turns into a nightmare.

The duality and halfness of the immigrant or refugee identity, the pride, shame, and confusion it can bring, are explored in heartbreaking, breathtaking words. This collection cuts right 142

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to the heart of the matter at a time when it is most relevant. But as these pieces—originally published between 1984 and 2018— show, immigration stories are perennially relevant. Authors take their pain and use it to paint gripping accounts of racism, culture shock, separation from family, and the splitting of one’s self that so often occur when dwelling within, outside, and along borders. It is but a glimpse into all the hardships—emotional, physical, mental and otherwise—that displaced people face.

The poems take a variety of forms, and the contributors and their families have origins in Nigeria, the Philippines, South Korea, Pakistan, Guyana, Mexico, Syria, Sudan, Guam, Russia, Turkey, and more. Some contributors’ names will be familiar to YA readers, including Elizabeth Acevedo, Samira Ahmed, and Gary Soto.

This symphony of poetry is a necessary series of bruises and balms that will comfort those who have endured, uplift those who continue to struggle, and educate others. (contents, editors’ note, foreword, afterword, biographies) (Poetry/memoir. 12-adult)

DEEP GIRLS

Weber, Lori DCB (240 pp.) $15.95 paper | Apr. 1, 2019 978-1-77086-531-0 Nine girls struggle with passivity and agency in a collection of thematically linked short stories.

Canadian author Weber (If You Live Like Me, 2015, etc.) uses the stories of nine teenage girls to probe the depths of adolescence and womanhood. The title story follows a girl who is bullied by her looks-obsessed mother and controlling boyfriend; “deep girls are no fun,” he tells her. She dreams of rejecting them and immerses herself in classic literature. In “Out of the Woods,” a girl resents her mother’s agoraphobia and her grandmother’s recent breast cancer surgery; she is left as the maternal figure for them both. “Relativity” follows a babysitter’s crush on her charges’ father and jealousy of their apparently lazy, undeserving mother. The protagonists’ white default becomes explicit when blackness is othered; Southern dialect is rendered with condescending exaggeration. The girls’ movements toward agency are often spurred by a possessive boyfriend or father, but rather than standing up to the male figures in their lives, the girls tend to choose quietly stepping away. It’s a narrative choice that isn’t always satisfying even as it makes space for subtler kinds of female strength in a genre dominated by tough but two-dimensional warrior princesses. Ultimately, the blurred lines between depth, passivity, and weakness too often lead to anticlimax.

A quietly tender, if underwhelming, collection. (Fiction.

13-16)

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GIRLS WITH SHARP STICKS

Young, Suzanne Simon Pulse/Simon & Schuster (400 pp.) $18.99 | Mar. 19, 2019 978-1-5344-2613-9 Series: Girls with Sharp Sticks, 1

CORPSE & CROWN

Kwitney, Alisa Inkyard Press (320 pp.) $18.99 | Feb. 12, 2019 978-1-335-54222-9 Series: Cadaver & Queen, 2 (Fiction. 12-18)

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“Manners, modesty, and gardening” are the most important aspects of any obedient young woman’s education.

The 12 perfect, uniformly beautiful, very proper, and emotionally restrained young ladies in attendance at Innovations Academy must please the investors, creepy professors, and head of school as well as the increasingly odious Guardian Bose. Nightly “vitamins” and utterly horrific impulse control therapy eliminate any pesky behavior. Mena is close with the other girls, but when she meets a boy named Jackson on a rare outing, his concern and questions open cracks in her memory, which is hazy regarding life before Innovations. When one of the girls disappears, Mena begins to think for herself and question the school authorities’ true motives. A few clues pave the way to the big reveals, and the girls cleverly utilize their outdated education to manipulate their minders. How these girls are treated is vile, but the views and practices underlying them weren’t left behind in the 1950s. Young (The Complication, 2018, etc.) holds a mirror up to modern society’s push for perfection and the still all-too-common repressive treatment of women and girls. Readers will be revved up for the inevitable uprising.

Characters follow a white default; Jackson and one student have dark skin. Two of the girls are romantically involved.

Despite a few predictable sci-fi elements, this is a suspenseful and timely read. Readers will look forward to the sequel. (Dystopian thriller. 13-18)

continuing series THE CURSED SEA

DeStefano, Lauren Balzer + Bray/HarperCollins (400 pp.) $17.99 | Dec. 18, 2018 978-0-06-249135-0 Series: The Glass Spare, 2 (Fantasy. 13-18)

EVERMORE

Holland, Sara HarperTeen (368 pp.) $17.99 | Dec. 31, 2018 978-0-06-265369-7 Series: Everless, 2 (Fantasy. 13-18)

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These titles earned the Kirkus Star:

Aitken, Maureen Southeast Missouri State Univ. Press (172 pp.) $18.00 paper | Oct. 8, 2018 978-0-9979262-7-9

THE PATRON SAINT OF LOST GIRLS by Maureen Aitken........... 144 LOVE THAT MOVES THE SUN by Linda Cardillo...........................148 DEAR JANE by Marina DelVecchio................................................ 149

A short story collection recounts significant episodes in a young Michigan woman’s life.

In this book, which won the 2016 Nilsen Literary Prize for a First Novel, Aitken (Writing/Univ. of Minnesota) gathers both new and previously published short stories into a singular anthology. The work centers on one character: Mary, a spirited writer and artist born in 1960s Detroit.

Although each piece can stand entirely on its own, together these brief glimpses weave a rich tapestry of a life, incorporating themes of family and romance, work and destitution, inspiration and addiction, determination and loss. Even the simplest moments have a sense of gravitas and quiet beauty; for example, while remembering picking raspberries with her grandfather, Mary comments, “As with the seasons before, I had only to look his way and consider how his pale, steady hand coaxed the berries away from their inevitable fall.” Indeed, Mary’s complexity as a protagonist will make it easy for readers to forget the work’s fictional nature. Whether she’s struggling to find fulfillment in a career or attempting to navigate a romantic landscape full of bittersweet choices, her emotions resonate with aching familiarity. What makes her exceptional is the strength that she demonstrates in the face of adversity, including a partner who’s addicted to heroin, a family member succumbing to cancer, and her sobering realization, as a child, of the abductions and murders that plague the streets of her city. Aitken doesn’t shy away from difficult topics in these snapshots; instead, she thrusts them boldly into view: “When you reached Brooklyn via Detroit, you had other stories, ones of yearning, of forging ahead, of seizing and tasting every drop you had left. You fought, with everything, to live.” Overall, the author delivers these stories with poetic grace, resulting in a book that will linger in the reader’s mind long after the final page.

A moving work that demonstrates a nuanced understanding of the human condition.

NOW I SAY GOODBYE TO YOU by Brooks Wright..........................165

DEAR JANE

DelVecchio, Marina Black Rose Writing (172 pp.) $16.95 paper | $5.99 e-book Jan. 3, 2019 978-1-68433-172-7

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THE COMMONSENSE GUIDE TO EVERYDAY POISONS How to Live with the Products You Love (and What to Do When Accidents Happen)

MOMENTARY ILLUMINATION OF OBJECTS IN MOTION

Arias, Jason Black Bomb Books (132 pp.) $12.99 paper | $6.99 e-book Sep. 30, 2018 978-0-9980116-5-3

Angert, Teddy Vincent Self (198 pp.) $12.99 paper | $9.99 e-book Sep. 19, 2018 978-0-692-19612-0

A debut manual examines poisonous household substances and less toxic alternatives.

What are parents to do if, say, their child takes a bite out of an air freshener? The answer, according to Angert, is to rinse out the kid’s mouth with water. The adults should also not panic too much, a major theme throughout the book, which is presented as a go-to resource when common products are used inappropriately. The author delivers advice on items ranging from acne treatments to witch hazel. Background information is provided on each substance as well as the potential for toxicity if brought into contact with skin (or inhaled, consumed, or simply placed in the mouth). There are also practical tips and remedies. For instance, if someone swallows gasoline and throat irritation results, drinking milk may alleviate the burning sensation, though vomiting should never be induced. Beyond such suggestions, the guide features intriguing tidbits as well as home recipes. For example, the entry on gasoline includes the meaning of octane and a brief history of ethanol fuel. There are sections on how to make fabric softener, clean up an antifreeze spill, and determine whether certain moldy foods can be eaten or should be thrown away. The text often has a folksy tone that wouldn’t be out of place in a Mother Jones article. Angert nimbly explains that the manufacturer of Bitrex (which is used as an additive to nail polish remover to make it unpalatable) offers taste-test kits so consumers can “discover just how awful it is.”

The pointers here are immensely useful, though some of them can be oddly placed. Mosquito prevention recommendations follow a passage on the toxicity of Tiki torch fuel. The two topics are not entirely unrelated, though it seems that someone concerned about accidental citronella oil consumption may not be in the mood to discover new ways to keep mosquitoes out of the backyard. Nevertheless, the manual is illuminating and concise. Readers, whether they are distressed because their pets ate ant poison or they simply want to make their own deodorant, are likely to learn something valuable in these pages.

A helpful, easy-to-read guide to poisons.

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A debut volume of short stories captures small slices of characters’ lives.

Most of the tales in this collection focus on brief incidents, like an EMT, new on the job, watching police deal with a deer struck by his ambulance or a kid trying to run home after getting caught stealing beer.

Arias makes a strong impression with his stories, many of which have been previously published in journals and magazines. The time elapsed in a tale might be less than an hour, but he expertly reveals something particular about his characters and hints at something universal. This is obvious from the first story, “Deer Don’t Scream, Do They?” The inexperienced EMT is standing by the side of the road with a couple of cops and the ambulance driver as a deer lies dying on the road. If the animal were a person, the EMT would be helping the injured party. But he can’t, and neither, apparently, can the rookie cop, who makes a mess of trying to put the deer down. In the end, no matter what they do, they all have to move on to the next moment, the next sufferer. Some of the tales are gritty like that one, while others are more esoteric, such as “The Case for Viable Life in Atlantis,” which sets out opening and closing arguments and exhibits to prove that people should be able to breathe underwater. The central metaphor here gets a bit cloudy. Arias’ work is much more striking when he grounds it in more visceral events, no matter how strange the subject matter. In “Closer,” a man who recently lost his wife to illness finds himself drawn to crowds and contact and doesn’t break down to properly mourn until he is rejected after an awkward bathroom encounter.

In “Writing Code,” a nerdy kid tries to come out of his shell by hanging mistletoe from trees and overhead wires on the route his crush walks to school. The author sets up the story from a “his and hers” perspective, which not only gives readers a look inside both characters, but also provides a heartbreaking twist.

Tales that are emotional and intellectual but almost always moving; a superb collection.

BRIGHT STAIN

Bell, Francesca Red Hen Press (104 pp.) $16.95 paper | May 7, 2019 978-1-59709-861-8 From Bell, a gritty poetry debut that examines the power and perils of womanhood, sex, and religion.

Bell finds beauty and horror in the tiny moments of life and turns them into art. “Besos” sensually recalls a first kiss with a boy who is later brutally beaten. The speaker unpacks the |

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dragon tales Dragons in adult literature have a very long history, from the ancient epic Beowulf to George R.R. Martin’s A Song of Ice and Fire series. However, the monstrous reptiles have long been staples of children’s fiction, including the J.R.R. Tolkien classic The Hobbit.

Kirkus Indie reviewed several dragonthemed titles for youngsters over the past year that approach the concept in intriguing ways: The Little Rainbow Dragon by Marion Ireland and Margaret Lewer is an illustrated short story collection that aims to introduce children to all the colors of the spectrum. In the Rudolph the Red-Nosed Reindeer–like titular tale, an oddly but vibrantly hued dragon is teased until he discovers his special skill: breathing amazing, multicolored flames. The stories’ simple morality lessons result in “pleasant bedtime reading” that “encourages dialogue between adults and children,” according to our reviewer.

In Mark H. Newhouse’s middle-grade fantasy series installment The Case of the Disastrous Dragon, 12-yearold Brodie helps his Uncle Jasper, an attorney representing a dragon who’s being evicted from his ancestral home along with his babies. The youngster eventually encounters all manner of bizarre creatures in the town of Mostrovia, including flying monkeys who “actually do work for peanuts...or bananas.” “As the story progresses, so does the protagonist’s deepening understanding of himself and others,” says Kirkus’ reviewer.

Author/illustrator Ilara Stefaniuk-Gaudet’s The Secret Wish of Dragon H tells the story of Horus, a boy dragon who wishes, more than anything, to have wings, which only girl dragons have. He meets a lady dragon who says that she “wasn’t always a girl dragon”; she had a procedure that gave her beautiful wings. Later, Horus gets wings, too, and becomes Harriet. Kirkus’ reviewer calls the protagonist an “appealing, stereotype-busting” character and the book, “a good place to begin a discussion of transgender identity with youngsters.” —D.R.

mortifying experience of developing breasts at age 14 but soon discovers how they make young men quake in “In Plain Sight.” In “Narrow Openings,” the speaker admits she doesn’t like her lover and longs to argue with him; instead, she goes for a walk, delighting in the idea of him “pacing / the closed rooms, stupid and lovely.” The author doesn’t shy away from tough or taboo subjects; “With a Little Education” examines the life of a gigolo, and “The Curator” is a visceral recounting of serial killer Jeffrey Dahmer’s monstrosities. The work is entirely unsentimental, from a remembrance of an unimpressive paramour to a poem in which the poet plays with excuses used by football players accused of sexual assault. Several unflinching looks at the body include a birth poem so gruesome it reads precariously close to murder, and “Guilt Tastes Like Summer” finds a 4-year-old wondering if sunburn is her penance for sexual desire. Womanhood and religion are interwoven here. Unclasping a bra is “a relief like prayer,” while menstruation is “the reminder / of the gash God made in me.” The imagery is incisive and unique: Boys’ voices “creaked like screen doors”; spent lovers are “rubble, still and separate”; and a tongue “leapt / like an animal from its cave.” This collection is not for the faint of heart, however; rape, abortion, and child sexual abuse by men of the cloth are all par for the course. And in “In Persona Christi,” she compares fellatio to the Eucharist.

A penetrating collection of ruthless, unapologetic poetry.

THE CHRONICLES OF THE VIRAGO Book II

Bialys, Michael Amazon Digital Services (255 pp.) $4.99 e-book | Dec. 12, 2018 In this middle-grade fantasy sequel, Bialys’ (The Chronicles of the Virago: The Novus, 2018) heroic teens continue protecting twin infants who are destined to

usher in a golden age.

Thirteen-year-old Makenna Gold is the Virago, “tasked by the forces of good” to protect her twin 14-month-old siblings, Emilyne and Noah. She’s aided by an enchanted lowrider skateboard called “the Redeemer” and three fairy mentors: Marigold Frith and Bree and Dee Delphine. One night, in the Pasadena, California, home that she shares with her parents and siblings, Makenna receives a visit from the Grim Reaper. He warns her, “You are dangerously close to being one of my clients.” The next day, she learns that her school has won the Roosevelt Meir Award, which allows the school administration to send her; her best friend, Stephen Levine; and their classmates Heather Stern, Elise Green, and Sam Taylor on a three-week educational trip to China. Parents will chaperone them, and the Londonbased Natasi Foundation will pay all expenses. However, it turns out that this foundation is run by the foul Sir Malvado Seaton, who will do anything to kidnap the twins. Numerous “Efflusyum decoys” throughout the world prevent Seaton from tracking Makenna and the twins’ exact location, so he plans to lure them to a place where his operative, the sinister and

David Rapp is the senior Indie editor.

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effective Mr. Xshun, can dispatch the Virago. Also gunning for her is Ms. Creante, a disguised Alghanii demon who’s already failed to defeat Makenna once. Thankfully, help awaits the teen at Nanjing University in the form of Tai-Pan, an Air Elemental who will train her to use the Redeemer in more advanced ways.

For this series’ second installment, Bialys deploys more bombastic wit and skillful plot twists. He provides heaping portions of weirdness—such as a talking worm named “Fluffy”—while also guiding characters through incredible transformations. Tai-Pan, a sly transplant from classic literature, is a pleasant surprise, and Mr. Xshun harbors a centuries-old secret that enables a gripping action sequence. Young genius Sam is a fun font of knowledge; for instance, he lets the other kids know that the name “Natasi” is “I Satan” backward. Stephen pitches in with his powers of clairvoyance, but the best help that Makenna receives is Tai-Pan’s advice to never “take a life in anger.” Bialys trusts his young audience to handle some graphic moments, including Ms. Creante’s demonic transformation with “her skin falling away like paper, blood seeping in pools onto the dirty pavement.” There are some religious themes; for example, “blood metal,” derived from the nails used to crucify Jesus Christ, is employed to create an “anti-weapon” to counter the Redeemer. Heather, though frequently off-page, is a memorable character when she does appear; at one point, for instance, she’s determined to go on a shopping spree, “crisis or not.” Bialys’ joy in bringing this world to life is clear and remains his greatest strength. The epic closing events lead organically to a planned third volume.

A fantasy adventure that builds thrillingly on its predecessor.

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lonely there until she meets Jayce Fallon, who has “deep brown eyes” and a sympathetic ear. He takes her to Mystic Beach and introduces his own friends—Terran, Aiden, Makan, and Meriel— who happen to be the immortal avatars of earth, air, fire, and water. Shanntal is amazed but can’t help but wonder what she’s done to deserve such a remarkable crop of new friends. In her novel, Blyth (Stormy Saturday, 2015) teases the answer while crafting a tense romantic triangle with Jayce, the telepathic keeper of the elements; Daray, a vampire with ties to Shanntal’s past; and the protagonist, whose memories of childhood are hazy. While Jayce’s mental connection to Shanntal is intrusive and potentially domineering, he promises to behave himself and “give space whenever needed.” Their lives together could be perfect, and the author deftly conveys that first splash into love (“I felt lightheaded, and my lips burned hot”). But vampires, werewolves, and hoofed doomahorns complicate their situation. On Shanntal’s side, aside from elementals, are unicorns, fairies, and shape-shifters like Layla. Though Blyth takes readers through familiar genre terrain (like the Twilight series), Shanntal’s determination to be more than a damsel in distress is key to her appeal.

An optimistic supernatural tale with both fresh and familiar ingredients.

BOMBARDING HEAVEN IN UNITY A Prayer Book for Healing

Burns, Tierra Westbow Press (114 pp.) $11.95 paper | $6.99 e-book Aug. 2, 2018 978-1-973632-68-9

ESCAPED THE NIGHT

A concise Christian guide to prayer and other topics.

“Churches all over the diaspora preach on the need to pray and instruct their members to pray,” Burns writes in her nonfiction debut, “but there is still a large number of churchgoers who are afraid of doing it wrong, shy away from prayer, and prefer the pastor, minister, prophet, evangelist, or missionary to pray over them.” Christians, she points out, are urged to pray without ceasing, but often what’s lacking is the development of a “lifestyle of prayer.” To facilitate that lifestyle, Burns offers a handbook of original prayers for a wide variety of life’s trials and challenges, from police brutality and gang violence to child abuse and bullying. Physical ailments are invoked, everything from the nervous system to the urinary system. There are prayers about enemies (“May they not devour me nor cause me to stumble”), prayers about intercourse problems (“I ask that the genito-pelvic pain...will be healed”). And of course there are dozens of prayers about far more traditional subjects like marriage; e.g., “God please give me the strength to be a husband that operates in love just like You love the church.” In all the book’s prayers, Burns combines plainspoken diction with wide-ranging scriptural quotations, shoring up her contention that prayer should be the daily language of the faithful. She intends her book to be used continually throughout the various stages of life. Some

Blyth, Jennifer iUniverse (376 pp.) $16.99 | $11.99 paper | $3.99 e-book Dec. 30, 2015 978-1-64361-213-3 978-1-64361-212-6 paper In this YA fantasy, tragedy leads a young woman to a new life, unusual friends, and the truth about her recurring nightmares.

Eighteen-year-old Shanntal of Greyton isn’t sleeping well. Her nightmares involve pursuit through the woods, a red-eyed figure, and a craving for blood. She hopes that her best friend, 20-year-old Ginata, will provide relief. Her parents drop her off at her spunky friend’s home for a sleepover, and Ginata suggests playing with a Ouija board. When a spirit named Daray answers, the game quickly takes a dark turn. The Ouija planchette spells out “I-WILL-FIND-YOU,” and Shanntal assumes she’s the target. The next evening, Ginata’s parents drive Shanntal home only to find a dark, empty-looking residence. Inside, Shanntal’s parents and younger siblings have been killed—drained of blood. After a hospital stay, she moves in with Auntie Stephanie and Uncle Danier on Blackwood Island. Life is |

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LOVE THAT MOVES THE SUN Vittoria Colonna and Michelangelo Buonarroti

of her more action-oriented readers may take issue with the totality of dependence evoked in several of these prayers (the grieving, for instance, are instructed to pray “God, I ask that You will send me the right support system to assist me during this time,” and so on), but the sheer variety of invocations here will likely overcome such reservations; it’s a rare prayer book that can touch on both digestive problems and PTSD. A varied, real-world Christian prayer book for all occasions.

Cardillo, Linda Bellastoria Press (528 pp.) $17.96 paper | Dec. 1, 2018 978-1-942209-54-6

When poet Vittoria Colonna meets Michelangelo, they discover a deep and profound connection in this historical novel.

Michelangelo is revered for his sculptures and paintings, and by 1534, his reputation is unparalleled. Summoned to Rome by Pope Clement VII, the artist prepares to work on the pontiff ’s legacy, the Last Judgment, a fresco depicting the second coming of Jesus. One afternoon, Michelangelo encounters a woman with a face that “suggests an intimacy with anguish.” The striking woman is Colonna, a poet and widow of military leader Ferrante Francesco d’Avalos. Thoughtful and brilliant, she was raised on the island of Ischia by Ferrante’s aunt, Costanza d’Avalos. Colonna’s marriage to Ferrante cemented a political alliance between her family and King Ferdinand of Spain. Since Ferrante’s death, Colonna has lived in seclusion, writing poetry and preserving her husband’s legacy. She is reluctant to rejoin society until a monk asks her to travel to Rome and advocate for the Capuchin order. Michelangelo admires Colonna and her poetry, and he asks for her advice interpreting the imagery in the Last Judgment. From this collaboration, an enduring and loving bond develops between Colonna and Michelangelo that sustains them through ongoing political and religious conflicts and personal tragedy. Cardillo’s (Island Legacy, 2017, etc.) latest book is a sweeping historical epic and a sensitively observed exploration of the passionate friendship between Colonna and Michelangelo. At one point the poet muses: “Michelangelo’s conversational style is like that of a surgeon with a knife about to slit open my chest to observe my beating heart. I am both fascinated and terrified by his questions.” Ambitious in scope, the narrative covers 1500 to 1547, shifting between their relationship and Colonna’s childhood and adolescence on the island of Ischia, her marriage to Ferrante and his betrayal of her trust, and her development as a poet. While Colonna and Michelangelo’s friendship forms the emotional center of the novel, the poet’s story and her journey as a woman and a writer are dynamic and multilayered. The author also does a fine job exploring the religious views that inform Colonna’s and Michelangelo’s lives and works as well as the tension between the Roman Catholic Church and the writers and clergy who seek to reform it.

A stirring and emotionally resonant portrait of a pivotal relationship in the life of Michelangelo.

BACK TO CHRISTMAS

Canfield, Dennis Well Spoken Books (126 pp.) $6.95 paper | $2.99 e-book | Dec. 1, 2016 978-0-615-88912-2 Canfield (Hardly Even Rich, 2018, etc.) offers an all-ages tale about the meaning of Christmas, taking thematic cues from Charles Dickens’ most famous holiday tale.

An elf named Marmel is the head of the labeling department at the North Pole. As such, it’s his duty to make sure that all humans get sorted onto either the “Naughty” or “Nice” list. But this Christmas, it seems that none of the other elves have listed a single person as “Naughty,” which has never happened before during Marmel’s 107 years in the labeling department. Suspicious, he decides to dig into the individual reports, and he finds one about the Krumwerth family. He deems them to be “certifiably hopeless” and definitely, undoubtedly Naughty. In fact, they’ve been on the Naughty List for two years running, so he must officially inform them that a third time will put them on the Permanent Naughty List. He appears to Amanda Krumwerth to deliver the warning, which sparks her struggle to get her family members back into the Christmas spirit. Meanwhile, Marmel is starting to lose his own Christmas spirit, which, for an elf, is seriously bad news. There’s no end of Christmas stories urging readers to be kind, to share, and to experience the joys of family, like Dickens’ A Christmas Carol. In this one, however, Canfield puts these age-old themes into a thoroughly modern setting without ever making the text feel preachy or saccharine. It’s a story that’s suitable for children, but it doesn’t talk down to them; indeed, some young readers may find its vocabulary to be a pleasant challenge. On the very first page, for instance, the author uses the word “infallible”— a term that isn’t found in many chapter books for young audiences. This book is particularly recommended for readers who enjoy tales of redemption with happy endings.

A wonderful addition to any Christmas-story collection, featuring plenty of charm and a subtle wit.

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This delightfully idiosyncratic portrait of urban India is riddled with sophisticated and unpredictable twists. parting of the strangers

PARTING OF THE STRANGERS And Other Stories

DEAR JANE

DelVecchio, Marina Black Rose Writing (172 pp.) $16.95 paper | $5.99 e-book | Jan. 3, 2019 978-1-68433-172-7

Dasgupta, Sattam PartridgeIndia (146 pp.) $13.99 | $7.50 paper | $3.99 e-book Sep. 17, 2018 978-1-5437-0383-2 978-1-5437-0384-9 paper

This debut collection of short stories examines the complexity of human connections in urban India.

The Indian metropolis depicted in these 16 tales is a place of opposing forces. Amid the chaotic swirl of urban life, strangers are thrown together by chance while others are dramatically and surprisingly riven apart.

The collection opens with a story titled “Receding Shoreline,” which describes an engineer and his wife awaiting the arrival of a dinner guest at an upscale restaurant. When the guest appears, what was first perceived as an innocuous dinner date suddenly becomes a pivotal moment in the couple’s marriage.

The theme of unexpected encounters is pervasive throughout the volume. In the title story, the narrator makes eye contact with a young woman while battling rush-hour traffic in Bangalore. He then seeks out her red compact daily to enjoy a silent exchange. Other tales, such as “No Time for a Joke,” about riding in a Kolkata taxi, and “Everyone Needs Closure,” which features a college student returning home to Bengal, also focus on peculiar meetings but have chilling paranormal twists. Dasgupta introduces an admirable range of characters, from codebreakers to corporate climbers, all of whom have distinct voices and personalities. His attention to detail is epitomized by his tender portrayal of Nayna sitting in rush-hour gridlock in the title story: “Nayna’s hair was tied in a loose bun and carelessly clipped at the back. Unruly locks hung on her nape, and another caressed her cheek....The tail lights from the cars threw a red hue on her and brought a pang of inexplicable warmth in my heart.” The author is skilled at creating such serene moments of intimacy in scenes of chaos as well as equally unanticipated jolts that spring violently from quietude. His book bears the marks of a perceptive writer, although his preoccupation with the machinations of corporate life may not be for everyone, and his prose appears to burn most brightly when evoking the hubbub of Indian traffic and street life. Still, this is a delightfully idiosyncratic portrait of urban India riddled with sophisticated and unpredictable twists.

Masterful Indian tales showcasing slick, expressive writing.

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In DelVecchio’s debut, an adopted teenage girl haunted by her past finds solace in the pages of a classic novel.

Elektra Koutros was renamed Kathryn and nicknamed Kit Kat when she was adopted from Greece and sent to live with her new mother in Queens, New York. She has been looking for her true identity ever since. Her adoptive mother, Evangelia “Ann,” is a single Greek-American woman with no children of her own and a cold disposition. Her birth mother, Athanasia, was a prostitute. With the contrasting archetypes of the virgin and the whore for guardians, what Kit Kat longs for is a true mother figure. Instead, she finds Jane Eyre, the classic work of literature whose heroine becomes her confidante and role model. Via diary entries recounting her childhood through her college years, Kit Kat tells her story in an earnest—and very strong—narrative voice as she confesses her darkest secrets. Although Ann is a vast improvement over Athanasia, who used to beat Kit Kat, her denial of her adoptive daughter’s past creates a palpable distance between them. In one scene, Kit Kat sits at the dinner table so quietly she can hear Ann’s stomach digesting her food: “The silences between us are now immeasurable, but the sounds of her fill every crack, every possible place unoccupied by words.” Told from the teenager’s perspective, the story leaves Ann’s innermost thoughts unsaid, and the effect is haunting. Did she truly believe Kit Kat was lying about her past, or did she feel in over her head because the social worker had told her the situation was better than it was? Some of Kit Kat’s siblings—Maria, Nicholas, and Stavros—spent time in orphanages, the homes of relatives, and with Athanasia and her boyfriend, Kristos, but none of them followed her to America. She’s alone, angry, and, at one point, locked in the bathroom with a pair of scissors pointed at her own body. If her mother can’t break the silence, she’ll have to do it for herself.

With sophisticated prose, this gritty coming-of-age story blends the familiar and the unthinkable as the lead learns to use her voice.

RIGHT THIS VERY MINUTE A Table-to-Farm Book About Food and Farming Detlefsen, Lisl H. Illus. by Kurilla, Renée Feeding Minds Press (32 pp.) $17.99 | Feb. 5, 2019 978-1-948898-00-3

In this farm-themed picture book, children learn the sources of the foods they eat.

Framed around children’s mealtimes, this cheery picture book by Detlefsen (If You Had a Jetpack, 2018, etc.) and from the |

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publishing arm of the American Farm Bureau Foundation for Agriculture pays tribute to farmers and farming. Illustrated with idyllic scenes of farmers at work and a diverse mix of children, the book begins with a little girl about to eat her pancake breakfast.

The stories of farmers, her mother tells her, are “right here on your table,” and “Right this very minute,” farmers are in orchards testing juice oranges for ripeness, readying a field for planting wheat, and collecting maple sap for syrup. On subsequent pages, children learn how snack-time cranberries and peanuts are farmed and how lunchboxes hold the “hard work of so many,” from dairy farmers to carrot growers and beekeepers. Dinner puts the spotlight on cattle ranchers and vegetable growers. The upbeat narrative, which includes child-accessible facts about crop rotation, soil sensors, and how produce gets to market, is complemented by the warm appeal of the observant, full-page illustrations by Kurilla (Wild Fairies #2: Lily’s Water Woes, 2018, etc.). One caution: this book isn’t written with vegetarians in mind or for children not ready for the reality of what happens to many animals on a farm.

An age-appropriate informational picture book offering a sunny celebration of farming.

onions. Squid ink paella and cod fish omelet....Ceviche and fried plantains.” The power of this fundamental social divide is captivating, and it’s easy to see how it could lead to unrest, with have-nots growing, cooking, and serving meals they can’t even taste. Vela’s emotions are rendered in the melodramatic bodily overreactions common to YA fiction, and it’s easy to guess the villain, but Dunn’s entertaining storytelling compensates.

An unusual focus on food only improves this intriguing coming-of-age story.

THE SOUL OF A CHILD A Novel Based on the Life of Maria Montessori Fuglei, Kate Barbera Foundation (254 pp.) $14.99 paper | $9.99 e-book Oct. 1, 2018 978-1-947431-15-7

A biographical novel explores the life and work of an educator and reformer.

In this book, Fuglei (Fermi’s Gifts, 2017) follows Maria Montessori, developer of the eponymous education system, from early childhood through the end of her life. Guided by a supportive mother—and occasionally impeded by a traditional father who takes longer to embrace his daughter’s brilliance—Maria pursues education not available to most girls in 19th-century Italy, eventually earning a medical degree and treating underserved populations in Rome. Her work with mentally challenged patients leads her to develop a theory of development that ultimately becomes the Montessori educational system, first implemented in one of Rome’s poorest neighborhoods. As Maria’s methods become popular around the world, she spends years traveling the globe, training teachers, and fighting—particularly against a duplicitous American magazine editor—to retain control of the program. Fuglei also examines Maria’s personal life, from her deep-seated sense of religious commitment to her loving relationship with her son, Mario, the product of a brief affair with a fellow doctor. The book is thoroughly researched, displaying the author’s knowledge of her subject without swamping readers in the minutiae of Italian political unification or turn-ofthe-century medical practices. The writing is strong throughout, and Fuglei does an excellent job of telling Montessori’s tale chronologically while also highlighting the repeated themes— obedience and defiance, the value of trust, a sense of self-control—that draw the story threads together. Although the tone occasionally borders on hagiography (“We stood up to Garibaldi.

But I wouldn’t want to face that little mite on the battlefield”), the author makes it clear that her subject merits readers’ esteem.

(In addition, the book is published in a series that deliberately celebrates the lives of notable Italians and Italian-Americans, so the tone of admiration is intentional.) The result is an extremely enjoyable novel that is also informative, engaging readers in a dramatic tale based on historical events.

A well-written book relates the compelling and inspiring story of Maria Montessori.

STAR-CROSSED

Dunn, Pintip Entangled Teen (368 pp.) $17.99 | $7.99 e-book | Oct. 2, 2018 978-1-63375-241-2 As unrest grows in a food-strapped space colony, a young woman slated for leadership must make a heart-wrenching decision in this YA sci-fi/romance novel.

When colonists arrived on their new planet, Dion, 60 years ago, they expected to find a fully habitable environment. All but a few terraforming pods sent ahead were destroyed, however, making survival tenuous. The colony adopted a drastic solution: the Aegis (people with suitable genes) receive a modification to become food incubators, eating heartily six times a day so that many more nutrients than they eat can be uncomfortably extracted from them in pill form. The other colonists consume only these pills, never tasting actual food. They, however, live full life spans, while all the Aegis but the king lose 60 years each. To retain strong leadership, every five years, a strong, fit colonist is chosen to sacrifice his or her organs to keep the king alive. Princess Vela, 17, of Thai descent, doesn’t always follow rules but still might be chosen over her sister as their father’s successor. First, though, she’s charged with administering this year’s Fittest Trials—agonizing in any circumstances but even harder with Vela’s childhood crush competing. Not only that, a saboteur threatens the colony. Vela must use her head and heart to make the right choices on behalf of her people. Dunn (Seize Today, 2017, etc.) has an inspired idea in focusing Dion’s society around issues of food and eating, so primal yet seldom featured in sci-fi. The Aegis’ lavish, varied meals sound so absolutely mouthwatering that readers may wish for a cookbook tie-in: “hummus and falafel and anchovy salad with olives and 150

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Gil’s affecting narrative celebrates the emotional and physical strength of female survivors. women who were sexually abused as children

WOMEN WHO WERE SEXUALLY ABUSED AS CHILDREN Mothering, Resilience, and Protecting the Next Generation

Gil, Teresa Rowman & Littlefield Publishers (224 pp.) $34.00 | $32.00 e-book | Aug. 26, 2018 978-1-5381-0177-3

This sci-fi novel pits humanity against an eerie, intractable threat.

Elise Broderick owns a flower shop in Glasgow, Scotland. At 41, she’s unmarried and has no children, but she does have parents who’d like her to move to Edinburgh with them. Yet she adores her bustling city and enjoys regular customers like Craig.

One day, they discuss some trouble happening “Up North.” He tells her, “Best head out before things get hairy.” Elise does escape the rioting that engulfs Glasgow, eventually hearing the rumor that a chemical spill in the River Clyde has ignited nationwide chaos.

But the spill is just a cover story, disinformation spread by someone like Robert Halifax, working in Washington, D.C., for physicist Lillian Tao. She directs a team of specialists studying the Front, a spherical, slowly spreading (at 0.2 mph) phenomenon that is, as far as anyone outside it can guess, 100 percent lethal to humans. It kills “along the same lines as advanced fungal decomposition of a corpse.”

As the Front spreads from Oban, Scotland, it devours cities and nations, driving forth waves of confused refugees. Throughout the United States, the National Transport Agency controls mass hysteria using National Guardsmen like Dwight and Brad, who aren’t sure they’re ready to gun down those in need of food and shelter.

Can Lillian halt the Front before humanity succumbs to its own most destructive urges?

For readers who like their sci-fi unflinchingly nihilistic, Halpern (The Man Who Stands in Line, 2017) offers an eyes-on-the-ground document of how various stripes of people might spend their final moments. The narrative jumps back and forth among viewpoints staggered across the several years it takes the Front to cover the world. Elise’s chapters, for example, occur within the first 35 days of the phenomenon. This structure allows the author some perverse foreshadowing tricks, as when he introduces Chinese prisoner Yu Feng, whose chapters begin on “Day 730,” and then reveals through a Dwight chapter, “Day 844,” that the “Chinese had tied prisoners to posts to watch” the Front’s progress. Though reminiscent of patchwork narratives like World War Z that use gore to emphasize humanity’s struggle, Halpern’s work avoids gratuitous violence.

The strength of this page-turning extinction event lies in the exposure of its characters’ darker selves. Elise, stripped of cleanliness and agency while detained in a camp, begins suffering flashes of xenophobia and thinks, “The more righteous you seemed, the more you secretly harbored racist thoughts.” Other hot-button topics under review are gun control, the bleakness of the internet, and the seriousness of murder as civilization crumbles. Learning what the Front actually is—the wrath of God or perhaps an alien cleansing mechanism—pales in comparison to the crucible it presents to humanity. The author proves excellent in laying bare the souls of Dwight, Lillian, and others. The final chapter, a rewind to “Day 0,” featuring a miserable couple on vacation, leaves readers much to ponder about the cause of humanity’s fall.

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A psychotherapist offers intensive reflections from and about female survivors of childhood sexual abuse.

Through interviews, profiles, qualitative studies, and her own professional experiences, debut author Gil channels her veteran career in abuse recovery into this poignant and illuminating volume on survivorship. She focuses primarily on women who have become mothers despite the harrowing ordeals clouding their youths and how they raise their own children amid lingering emotional challenges. The book’s opening chapters provide plainspoken declarations of what childhood sexual abuse encompasses, the long-term deleterious mental health ramifications, and how self-medication provides only temporary relief. Other sections examine the specific qualities found in nurturing and protective mothers and how a professional therapeutic relationship can cultivate those attributes, foster recovery, and counsel parents in their critical roles at home. Her text also mines the dynamics of revictimization and the intergenerational transmission of abuse possible throughout a survivor’s life. The themes Gil explores are intensified and greatly personalized with quotes, stories, and passages from scores of interviews she’s conducted with women who are rearing kids in contemporary society as well as those who have already parented adult offspring. This material shows how time and healing have changed their views over the course of their motherhoods. “By sharing common experiences, women can begin to transform shame into pride, and silence into strength,” the author writes. Her probing yet respectful scrutiny exposes the atrocities of childhood sexual abuse while beautifully revealing the brave struggles of mothers who have persevered, given birth, and lovingly supported their kids. Gil’s affecting narrative celebrates the emotional and physical strength of female survivors, and she admits to being in a constant state of awe at her subjects’ tenacity and their ability to “maintain a sense of humor and to be compassionate and caring toward others while they courageously grapple with the difficult and painful issues that arise in the therapeutic process.” The book’s analytical approach and academic tone and format make it an ideal resource for childhood abuse clinicians and educators as well as for survivors who are open to discovering aspects of other women’s experiences and coping mechanisms. For lay readers, Gil closes each chapter with useful summary sections clarifying and underscoring key points and perspectives.

A moving and immensely informative study on how the long road to abuse recovery can directly affect motherhood.

PACE

Halpern, K.M. Epsilon Books (300 pp.)

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INTERVIEWS & PROFILES

Anna Todd

THE WRITER FIRST BECAME A BESTSELLING SELF-PUBLISHER AND IS NOW TACKLING HOLLYWOOD

By Rhett Morgan Photo courtesy Valorie Darling

When did you first decide to pursue writing full time?

I decided when Wattpad came to me and asked if I wanted to go to New York City and meet with publishers that wanted to publish my work. Even then, I didn’t realize that I would actually be able to make a living off of my hobby.

As a writer, what did you find appealing about fan fiction in the beginning?

I just love fan fiction and the fanfic communities. For me, fanfic allows me to live in a world I already love just a little longer. The fan fiction community is one of the most supportive and creative groups of people I’ve ever met.

Can you tell me a little more about the Wattpad platform that you first used?

I was a reader on Wattpad for a few months before I decided to write on the platform….I did it to entertain myself, and then it grew and grew. I posted a chapter a day most of the days, and readers organically found the story. Wattpad is a free reading and writing platform, so I was doing this strictly for fun, with zero expectation to be published or even read.

Anna Todd was a voracious reader who didn’t even know self-publishing existed when she started to write her own fan fiction. A lifelong lover of books, Todd discovered an online community of other readers and budding writers through Wattpad. She passed incredible milestones on the platform with her The After series—which follows the love story between ambitious Tessa and bad boy Brit Hardin—and she quickly got a deal with Gallery Books, a Simon & Schuster imprint, that helped her top the New York Times bestseller list. Todd spoke with us about her success and upcoming plans to take on both Hollywood and self-publishing with her latest self-released novel, The Brightest Stars.

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After originally working with Simon & Schuster, what’s it been like to self-publish The Brightest Stars?

It’s been so much fun. I still sold to all of my international publishers and then self-published in the United States.

Most of my readers are international, so nothing changed for them, and in the U.S. I got to choose my own cover, market myself, and experiment. I can’t wait to do it again.

Do you still plan to use self-publishing in the future?

Yes, for sure. I love hybrid publishing and I’ve been extremely untraditional my entire career, why stop now?

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What inspired the love story at the heart of your After series?

It’s a very classic love story at the heart. It’s the naïve, sheltered girl and the tormented-by-his-past bad boy that fall in love even though they shouldn’t. I love telling stories of redemption and angst. It’s what I love as a reader too. I just modernize it and tell the story that flows through my head while typing away.

What can you tell us about the movie adaptation of After?

I can say that I saw the director’s cut yesterday and the movie is beautiful. It was so interesting to be a producer on the film and be on set every day; I learned a lot and really got to be hands-on with the movie and cast.

Rhett Morgan is a writer and translator living in Paris.

Harrison, Adrian Okir Publishing Inc. (328 pp.) $11.99 paper | $3.99 e-book Aug. 3, 2018 978-1-64271-162-2

A debut motivational work encourages readers to access their full potentials via the creative process.

Most people associate creativity with a narrow group of artistic disciplines, such as painting, novel writing, or interior design. But the act of creation is far more applicable than that.

“Far from pushing the topic of creating to the back of our minds, we do far better if we make understanding the way we create and make taking the steps to create better our highest priority,” writes Harrison in his introduction to this book, which aims to show readers how to best unlock this talent. The author argues that readers are always creating, in their lives and in their minds. The question is: Are they creating purposefully toward a goal or carelessly without direction? Harrison believes that readers can create their way to clarity, serenity, and success but only if they first understand how the creative mind operates. He explains the workings of the human brain and the creative process, including ways to improve creative ability while eliminating mental obstacles and behaviors that stand in the way of a person’s success. Using anecdotes, examples, and exercises, the author walks readers toward becoming better, more creative versions of themselves. When readers are thinking creatively and living insightfully, there’s no end to what can be accomplished. Harrison’s prose is clear and measured, though its heavy use of motivational vocabulary means it sometimes veers into the abstract: “When we are not present, now is not available. It is quite astounding to realize that we spend a huge amount of our lives not focusing on the now.” Chapters are wellorganized, with numerous lists and instructions for those who prefer an active reading experience. By approaching self-help through the lens of creativity, the author manages to deliver a new take on this very common topic. Whether it works any better than the many other books in the genre may depend on the reader, but there is much here for those looking to maximize their potentials to ponder.

A well-presented guide based on the power of creative thinking.

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What’s next? Do you plan to keep expanding the After world or move into new genres?

For now, I’m working on the second book in my new series. It follows the first, The Brightest Stars, that was released in September, and I’m really excited to see where the story goes. I keep surprising myself with what the characters are doing, so it’s been great. I’m also working on the script for the second After movie, and the second book is even longer than the first, so we have our work cut out for us!

CREATING NOW Your Guide to Creative Thinking, Insightful Living and Comprehensive Success

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BLOODLINES

identity of an initially unknown villain named Orpheus, which is a significant twist. Nevertheless, based on the cliffhanger ending, that’s a plot turn that the author plans on picking up in the next series installment.

A riveting multigenre tale with sharply drawn characters in a striking futuristic world.

Hartog, Peter Self (456 pp.) $3.99 e-book | Aug. 31, 2018 In this debut sci-fi/mystery novel, the latest case for a detective in a dystopian future entails magic, interdimensional aliens, and, quite possibly, vampires.

Tom Holliday’s recruitment into the newly launched Special Crimes Unit is primarily due to his gift. The investigator, who transferred from the Empire City Police Department, uses a supernatural perception that he calls the Insight to close cases. That’s just what retired ECPD Capt. Bill Mahoney needs as head of the SCU—“to solve the unsolvable and inexplicable by any means necessary.” Holliday’s first case involves the body of Vanessa Mallery, completely drained of blood by, according to eyewitnesses, a vampire. The detective’s SCU partner is Deacon Kole, a former Protector (law enforcer) from the Confederate States of Birmingham, one of 52 worldwide enclaves in existence after a nuclear calamity and pandemics ravaged Earth years ago. Holliday and Kole team up with Besim Saranda, a female Vellan; her alien race abandoned its war-devastated world from a parallel dimension to take refuge on human-inhabited Earth. While Holliday readily accepts Vellans and furthermore believes in magic, he’s certain vampires don’t exist. But finding the killer won’t be easy: Cameras at the murder scene were inexplicably disabled, and the two witnesses were high on a hallucinatory drug called Goldjoy. And there’s evidently more to the case than potential vampirism, including a drug lord and baddies meticulously cleaning crime scenes, leaving behind a perceptible lemon scent. Holliday and company will encounter a slew of dangerous individuals as well as a few more bodies before it’s all over.

Hartog deftly fuses genres in this entertaining series opener.

The novel is first and foremost sci-fi, with a thoroughly detailed future Earth and inventive tech, like Holliday’s new DNAbonded Superior Military Armament Retaliatory Tool gun that only he can operate. But the story’s tone owes more to classic hard-boiled fiction: Holliday has a dark past (he was once addicted to Goldjoy); the rain never seems to let up; and Kole rarely appears without a smoldering cigarette. Although Holliday is most assuredly not a cynical detective, he’s unquestionably appealing. For example, his nickname, Doc, is not from Wyatt Earp’s gunslinging pal but rather from the investigator’s Ph.D. in classical literature. Moreover, Holliday’s first-person narration is unabashed and often charming: “I’m not afraid of heights, but I do maintain a healthy respect for anything that might get me killed, like angry ex-boyfriends, or falling from a hundredplus story building.” Other characters shine as well, such as Leyla, Holliday’s shrewd hacker friend, who, as it happens, is capable of magic. As the narrative progresses, the supernatural elements increase, from a fetch, a parasitic “shadow creature,” to an especially formidable man who, through a combination of magic and technology, doesn’t go down easy. The SCU’s case does eventually turn conspiratorial, particularly with the 154

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HOW TO BE A SUCCESSFUL PHILANTHROPIST Avoiding the Legal Pitfalls

Hopkins, Bruce R. Dorrance Publishing Co. (146 pp.) $14.00 paper | $9.00 e-book Aug. 9, 2018 978-1-4809-9916-9

A brief primer focuses on the laws governing charitable giving.

Hopkins (The Law of Tax Exempt Organizations, 2015, etc.) has devoted nearly half a century to advising nonprofit, tax-exempt corporations how to negotiate the legal landscape of philanthropy. But in recent years, the author has noticed more individual clients seeking his counsel, and it is that crowd to whom this guide is addressed. Hopkins begins at the elemental level, taking nothing for granted, including a basic definition of the philanthropist as “an individual who contributes large sums of money for charitable purposes.” For someone who wishes to engage in considerable giving, the legal options available are dauntingly complex: One can form a private foundation, create a public charity, start an account called a donor-advised fund, or confect some hybridized version of all three. The author methodically helps readers articulate what precisely they want to accomplish and carefully weigh the options most conducive to the achievement of those goals. For example, if philanthropists insist on creating organizations over which they can assert maximum control, private foundations are probably the wisest vehicles. But if maximizing charitable deductions is one’s principal objective, a public charity likely makes more sense. Hopkins also discusses the possibility of garnering public recognition for charitable giving without the legal burden of institutionalization by virtue of naming gifts.

Furthermore, he assesses the various ways all these options can be structured, as well as the advantages and disadvantages of each, and includes detailed analyses of illustrative case studies. His book is both remarkably concise and exhaustive—it’s difficult to imagine a more comprehensive introduction to the topic of comparable brevity. Especially considering the dense, intimidatingly technical nature of the subject matter, the author writes in mercifully lucid prose of the kind one would expect from a veteran teacher. In addition, he points out, with a wry charm, the ambiguities and omissions that bedevil the law: “What is the minimum amount that should be contributed in forming a private foundation? No one knows.”

A valuable and thorough resource for aspiring philanthropists.

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The novel is an enjoyable setup, lean in prose, pithy in dialogue, and generous with action and motley characters. the burning son

THE HUNT FOR THE THREE ROSES

interested in adequately training him, Callie offers to “pound some sense into him.”

A rousing fantasy sequel that allows the story to evolve while setting the stage for the final volume.

Hubbard, Jason BookBaby (404 pp.) $2.99 e-book | Sep. 19, 2018

THE BURNING SON

In this second installment of a trilogy, a mage apprentice and an ex-thief protect a special stranger while trying to dodge a vengeance-minded assassin.

Kane Bailey was once a nobleman and mage apprentice in the kingdom of Consaria. But the teenager became a fugitive after inciting King Hugo’s wrath by telling a clan leader, who was threatening Kane, about the enigmatic Three Roses. At the time, Kane didn’t know what the Roses were, only that the king was searching for them. Now he believes he’s found one of the three: simpleminded Jonas, who sports a rose tattoo. Kane’s belief is solidified when the apparently psychic Jonas warns Callie, a former thief Kane has befriended, that the mage apprentice will soon die. Callie intervenes, and Kane narrowly avoids a tragedy that leaves many others dead. The two, along with Jonas, later team up with sorcerer Master Cypher, who was Kane’s tutor back in Consaria. While fugitive Kane changes his name to Sean McAlister, the group gets assistance from Cypher’s acquaintance Count Guyver. Cypher also enlists Sean to ensure Jonas receives safe passage to the city of Asturia, though the sorcerer never confirms that the man is one of the Roses. Sean and Callie adjust to their new lives, he as an apprentice to another mage, she as Guyver’s retainer. But proficient assassin Rainer wants revenge against Callie, who once bested him in combat.

He begins killing innocents in Asturia and makes it abundantly clear that Callie is his primary target.

This stirring novel, picking up right where the fantasy series’ first installment left off, continues the titular arc while giving the characters plenty of room to grow. For example, Sean and Callie’s relationship gradually deepens and even entails possible romantic obstacles, such as “ruggedly handsome” Sir Barnes’ catching Callie’s eye. Moreover, Sean and Callie act as parental figures to Jonas, whom the narrative equates with a “preteen” who’s prone to complaints of boredom. There’s likewise progression regarding the Three Roses; readers will have more than an inkling as to their meaning before the book ends, and the explanation is both intriguing and unpredictable. In addition, certain subplots, such as a ballroom dance and a surprise poisoning, have discernible ties to the main plot and characters. Hubbard (The Legend of the Three Roses, 2017, etc.) deftly outfits his tale with appearances or references to various creatures both recognizable (unicorns and giant golems) and less so (undines, which are elementals with mastery over water). While the author implies much of the physical violence, the story is still generally dark. Rainer steadily becomes more relentless and intimidating, and he’s the reason Sean suffers a few losses.

Nevertheless, dry humor occasionally alleviates the somberness.

This often comes courtesy of Callie, who suggests Sean use his magic by commenting, “Can’t you just wiggle your fingers and make stuff happen?” And when Sean’s new master doesn’t seem

Leatherman, TH Fivefold Publishing (260 pp.) $27.99 | $12.71 paper | $0.99 e-book Oct. 21, 2016 978-0-9983002-1-4 978-0-9983002-2-1 paper Rendered fugitives after religious fanatics bent on conquest attack their planet, a brother and sister join a motley band of interstellar smugglers in this sci-

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fi series opener.

In the spacegoing future, Earth’s empire (aka the Terran Confederation) competes against two principal races, the amphibious and psychic Dru and the foxlike engineering geniuses the Muscat.

Mutual suspicion and rivalry have prevented these three mighty forces from forging an effective, united front against the new bad guys on the scene: the bullying Erethizon, descriptively nicknamed “Porcu-bears,” hairy near barbarians (barbearians?) who are driven by a jihadlike religious crusade to seize control over every world they can get their claws on. Nonallied, independent planets are the easiest pickings, and an Erethizon fleet blitzkriegs the human settlement of Yale. The act makes refugees out of two citizens who would have been prize hostages for the invaders: navigator Mark Martin and his medic sister, Sophia, both military-trained progeny of a popular Yale senator. In desperation, the siblings bunk aboard the Leonard Fox, a tricked-out freighter that is really a pirate vessel (more of a smuggler ship, actually), making shadowy cargo runs for a galactic crime kingpin under the businesslike command of Capt. Jennifer Houston. Equality between the sexes, for the most part, is a sidelight of the universe Leatherman (Marque of the Son, 2017) builds. The newcomers integrate with the diverse crew even as continual harassment by dogged Erethizon pursuers strongly suggests there is something onboard the Leo that the conquerors desperately want—and that there may be a traitor in the crew helping them. The author begins a multivolume space-opera saga in breezy, rousing fashion. The novel is an enjoyable setup, lean in prose, pithy in dialogue (“We rely on blockade runners like Captain Houston over there. They charge us like a bathroom call girl, but we gotta pay to dance”), and generous with action and motley characters delineated in sparse, broad strokes. (Even if protagonist Mark, through whose eyes the first-person narrative unfolds, could have used a bit more color.) Readers who want fuller details of the history, technology, cultures, and intrigues (particularly the late-appearing “bear zombies”) skillfully dreamed up by Leatherman will be strongly lured into charting a warp-speed course for the sequels.

Space-bear storm troopers, star pirates, femme fatale cyborgs, and lost princes and princesses add up to fun for genre readers in search of diversion.

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THE WAY OF THE DOG From the Memoirs of Eros, the Metaphysical Dog

“I have realised that the greatest, most powerful love of all has touched me and it wasn’t just a feeling of love for this one man but a deep passionate love and respect for humankind as a whole.” The structure of this quote mirrors the organization of the book. Early on in the volume, Matic gives readers lots of deeply personal love poems; for example, here are the closing lines of the aptly titled “I Miss You”: “I miss you in the magic / Of the blossom trees / Everywhere I feel you / In everything I miss you / Everywhere I see you / Then I try not to cry.” Here and elsewhere, the poet writes emotional works dedicated to a “stranger,” many of which are pulled back from the brink of triteness by the obvious purity of her devotion to this man. (Matic, who lives in Australia, refers to this stranger pseudonymously as G.H. Eagle Spirit and includes some of his notes to her at the end of the volume.) And yet the collection gains in power and scope when her love shakes free from this narrow idiom and takes flight: “I fell in love / With a stranger I have never seen / Should I search for the answers / Written in the stars / Or just close my eyes and let the river flow / To carry me on the wings of time / Into the realm I have never known.” Unexpected shifts like this one, away from the stranger and toward the water and the stars, give the poems in the second half of the book a jolt of energy and a feeling of wonder.

Moving verse for a mystery man.

MacDonnell, Eva A. iUniverse (212 pp.) $26.07 | $14.99 paper | $4.99 e-book Oct. 27, 2018 978-1-5320-5913-1 978-1-5320-5912-4 paper Debut novelist MacDonnell offers discussions of politics, religion, philosophy, and science—all from a dog’s-eye view.

Have you ever looked into your dog’s face and seen a flash of recognition—a canny glance that makes you wonder if Sparky knows a lot more than he’ll ever let on? MacDonnell apparently has, and the result is this deeply innovative new volume, which plumbs the depths of canine psychology. The main character is Eros, a newborn pup learning to make his way in the wide world.

His mother and first mentor is Skylark, or “Shyla,” as her human owners know her. She brings Eros (and readers) up to speed on some basic truths about their world: Dogs are smarter and more perceptive than humans; they communicate via telepathy; and they take care of people, not the other way around. Eros is a preternaturally reflective young dog, and his questions quickly outstrip his mother’s teachings, sending him on an intellectual journey through the realms of metaphysics, psychology, faith, and a host of other topics. Overall, MacDonnell’s book is daring, original, and cheeky. She’s as quick with a joke as she is with a philosophical maxim, and her novel is a dexterous mix of humor and deep reflection. The only real weakness is that it all gets a bit repetitive from time to time. Take, for example, the first lines of the second, third, and fourth chapters: “Three days of eating, sleeping, and not a lot of thinking went by”; “These early days passed quickly. Eros slept a lot, ate a lot, and slept some more”; and “The next few days were just a lot of feeding and sleeping.” A more streamlined product would have been even more enjoyable, but these small structural issues don’t dampen the fun—or the fulfillment—that the book delivers.

An ambitious and insightful new novel in which a dog is your co-pilot.

JOURNALING POWER How to Create the Happy, Healthy Life You Want to Live McCarthy, Mari L. Createwritenow (146 pp.) $11.95 paper | $5.99 e-book Sep. 27, 2016 978-0-692-19983-1

In this debut manual, a writer examines how journaling can create spiritual, emotional, and intellectual awareness

and wellness.

McCarthy understands the ability to overcome internal struggles through self-reflection exercises. Diagnosed with multiple sclerosis in adulthood, she was forced to relearn basic activities like walking, cooking, and even holding a pen.

Through journaling, she discovered the time and patience she needed to heal, inside and out. Her book targets readers who seek a practice that will help them center their thoughts, emotions, and principles daily. The author weaves in personal stories, specific exercises, and useful tips that spotlight the common effects and benefits of journaling, such as putting the “Inner Critic” onto the page, learning to recognize automatic negative thoughts that are products of habits, and transforming the “should” voice into a potent, meaningful one. She recommends many techniques, such as “Morning Pages” and “Night Notes,” that should keep readers tapped into their conscious selves rather than the emotional gusts of the day. McCarthy provides prompts but emphasizes that journaling has few rules. The only ones she suggests: journal by hand and engage in the practice

IN LOVE WITH A STRANGER Testimony of the Heart

Matic, Marija XlibrisAU (94 pp.) $34.49 paper | $4.99 e-book Aug. 17, 2018 978-1-984500-60-1

Affection for an individual gives way to love for the world in this debut collection of romantic poetry.

In the introduction to her raw, passionate book of verse, Matic discusses the peculiar way in which love for a person can transform itself into something larger and more selfless: 156

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Mukherjee’s suggestions for reforming current lending practices deserve a wide audience. mortgage meltdown

daily. “Putting the pen to paper is a whole body experience,” she asserts, explaining in depth how the journaling process creates a more intimate interaction with the page and forces more succinct, purposeful thoughts due to the physical exertion required. While the book mainly concentrates on journaling, the author also covers an array of other important practices, such as mindful eating, breathing exercises, and expressions of gratitude. She even explains how journaling can become intertwined with healthy eating and other activities that can change a reader’s life if performed daily. In total, the work succeeds at adding something fresh, precise, and compelling to the genre: a focused manual that serves as a coach but allows for freedom, exploration, and creative interpretation.

This powerful guide offers journaling exercises that promote alertness, self-healing, reflection, and appreciation.

of the subject, remarkably accessible. He also manages to avoid even a whiff of partisan allegiance—his perspective is fashioned out of rigorous analysis versus political ideology. Finally, his suggestions for reforming current lending practices—especially those aimed at discriminatory practices—deserve a wide audience.

An astute and wide-ranging assessment of an urgent economic problem.

FABULOUS F WORDS OF BUSINESS OWNERSHIP Redefining Choice Words to Fuel Your Small Business

Preslar, Fabi W. SPARK Publications (216 pp.) $15.00 paper | $12.00 e-book Sep. 17, 2018 978-1-943070-39-8

MORTGAGE MELTDOWN Mapping the Past, Present and Future of Fannie Mae

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A small business owner shares her fears, failures, and successes in this moti-

Mukherjee, Ishwar Amazon Digital Services (89 pp.) $5.99 e-book | Nov. 30, 2018

vational memoir.

It turns out there are plenty of “F words” that apply to owning a business: Each of the 21 chapters, plus an introduction and close, is titled with one. Building a book around “F words” might have felt somewhat artificial in the hands of a less capable writer than Preslar (On Heaven’s Couch, 2011). Her “French parents brought me into this world as an F word—Fabienne,” one justification for the manual’s amusing title. The author writes with such style, verve, and flair that it is hard not to embrace the concept and follow her journey. While the volume covers the typical ups and downs of small business ownership, one of its more striking elements is Preslar’s authenticity in unveiling her vulnerabilities. She willingly shares the difficult lessons she has learned in life and business, focusing on the realities of facing her fears and rising above failures. For example, the author reveals that fear has, at times, been debilitating, but she has made positive efforts to overcome it. She writes that fear is “like a flame that burns brighter when it’s fanned with avoidance, antianxiety medication, and denial.”

Preslar also discusses how, as an introvert, networking and business relationships have not been easy for her, especially when she was unexpectedly “stung” by someone. The author tells a particularly poignant story about one experience with a woman from whom she learned three valuable lessons: “We never know what someone is thinking....We tote our baggage everywhere....

We never know what someone is going through.” Such personal insights and refreshing candor lend a richness to the book and move it beyond just another entrepreneur’s account of building a business. Preslar offers helpful counsel to anyone contemplating business ownership, weaving in advice about finances, health, leadership style, interactions with employees, and more. The short chapters are always followed by several thought-provoking questions for readers to consider.

Written with a great deal of humility; highly reflective, heartfelt guidance for entrepreneurs.

A writer offers an analysis of Fannie Mae’s contribution to the 2008 mortgage crisis coupled with recommended reforms.

There’s been no shortage of ink spilled on anatomizing the economic catastrophe of 2008, including specific analyses of the mortgage debt crisis. But there has been a surprising deficit of attention to the role played by Fannie Mae, the focus of Mukherjee’s debut book. He argues that years of imprudently weak regulation led to the growth of Fannie Mae into “an unrestricted mortgage behemoth” with more than $3 trillion in assets. Fannie Mae was transformed over time—partly as a result of its winning a territorial war with the Department of Housing and Urban Development—into a government-sponsored entity with an implicit federal guarantee of its strategic bets, in effect creating an unstable model within which private reward and risk were encouraged by the promise of taxpayers’ bearing the burden of failure. At the heart of the problem was Fannie Mae’s tremendously profitable guaranty arm, which allowed it to guarantee homeowner mortgages like an insurance provider in exchange for a fee. But when a deluge of home foreclosures compelled it to dole out massive payouts, Fannie Mae was egregiously short of funds since it had already spent its reserves on “doomed” bonds. The author furnishes a brief but impressively thorough history of Fannie Mae as well as an excellent primer on the housing market’s basic structure. In addition, he gives pragmatic but original solutions to the organization’s troubles, starting with a reduction of liability to taxpayers by winding down its portfolio. He also advocates the creation of a private servicer enterprise, which “would have the sole purpose of servicing the 120-day delinquent mortgages” from the Government Sponsored Enterprise. Mukherjee’s analysis is astonishingly concise given its breadth and, despite the technicality |

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FRAGMENTS OF ASH Cinderella

Projectionist Shep Farrell and manager Leo D’Aleo are preparing for another mundane day of work at the Strand Theater in the all-white town of Enfield, Connecticut, when something extraordinary happens. As Shep is preparing to screen what he believes to be Creature from the Black Lagoon, the film mysteriously threads itself. The theater staff is astonished to discover, when the movie plays, that it’s unlike anything they’ve witnessed before—because it’s the 2018 superhero film Black Panther. Also alarming is the fact that the projector refuses to stop running even after Leo and Shep cut the power. In 1954, the film—which racist Leo describes as “a bunch of half naked Coloreds flying through space and shooting up white people”— causes a significant stir, and white crowds flock to the uncanny spectacle. Word soon reaches the White House; Vice President Richard Nixon attends a screening, and when he finds that the film can’t be stopped, he deems Black Panther a national security threat. The dialogue in Riley’s deeply imaginative novella vividly captures the politics of paranoia of 1950s America. For example, Nixon’s report to President Dwight Eisenhower states: “it appears to me as if [Marcus] Garvey directed this motion picture from the grave.” Meanwhile, FBI Director J. Edgar Hoover accuses the “agitator Paul Robeson” of being behind the film simply because the performer once lived in Enfield. Riley also draws a damning caricature of the Eisenhower administration and the era’s casual racism. For instance, Secretary of State John Foster Dulles says that he’s alarmed by a Black Panther character’s “Africanized hair,” stating: “What are we to make of that Alfalfa hair-do?” The political figures are complex, conniving, and well-rounded, but Riley pays significantly less attention to his protagonist, Shep, who feels insufficiently fleshed out. However, this is a minor criticism of a daringly inventive novella that charts society’s ongoing struggle with racial bigotry and the role of cinema in challenging such prejudice.

A fantasy tale with an ingenious and memorable premise.

Regnery, Katy Self (358 pp.) $14.99 paper | $5.99 e-book Oct. 1, 2018 978-1-944810-37-5 After her mother dies, a young woman discovers that her stepfather has a secret agenda in the latest installment of Regnery’s (Catching Irish, 2018, etc.)

Modern Fairytale series.

Ashley Ellis always had a complicated relationship with her mother, Tig, a supermodel whose career ended due to drug abuse.

Through it all, Ashley received support from her godfather, Gus. Shortly after Ashley turns 18, tragedy strikes when Tig dies of a drug overdose. Ashley’s shock turns to fear when her stepfather, Mosier Răumann, the head of a violent crime family, tells her that he plans to marry her—after she graduates from high school. She turns to Gus and his partner, Jock, for help. They send her to Jock’s country house, where she meets their tenant, Julian Ducharmes, a former Secret Service agent who now works as a glassblower. Although he’s initially wary of Ashley, he’s unable to deny his attraction to her, and their cautious friendship soon turns into a passionate romance. While Ashley searches her mother’s diary for clues to her life and death, Gus, Jock, and Julian try to protect her from Mosier and his sons, Anders and Damon. Mosier, however, is determined to find Ashley and make her his wife, and he’ll stop at nothing to achieve his goal. Regnery’s latest series installment offers a contemporary twist on “Cinderella” with dynamic characters and a well-developed romance at its heart. The narrative is anchored by Ashley, who’s shown to be a gentle, devoutly religious young woman whose relationship with her mother was fraught with instability, and the author does a fine job outlining their complex history. Regnery also fully sketches out Julian as he struggles to deal with an error in judgment that ended his Secret Service career. Ashley’s romance with him develops slowly, bolstered by scenes that crackle with erotic tension. The fast-paced chapters alternate between Ashley’s and Julian’s first-person points of view and Tig’s journal entries, providing readers with insight into each character and their motivations.

A dark, bewitching twist on a classic story.

ABRACADABRA

Rotch, Lawrence Shoalwaters Press (253 pp.) $2.99 e-book | Sep. 1, 2018

A simple murder revives a New England legend in this first installment of a series.

Wissonet is a small, tightknit community perched on the shores of Buzzards Bay. For John and Mary Wendell, it’s the perfect place to raise their growing family. That is, until the body of Commodore Cummings is discovered on his boat, the apparent victim of murder. Despite Mary’s misgivings and the town’s hostility, John finds himself pulled into the investigation of the prominent man’s death. John is a Navy veteran who knows his boats, as does Rotch (Beware of the Elephant, 2015, etc.), who includes a great deal of details about design and sailing. Soon, the Wendells are receiving threatening messages, warning them to mind their own business. John’s mental health takes a turn as the World War II veteran begins to suffer the effects of PTSD. The crime also

NOW PLAYING BLACK PANTHER

Riley, Dan The Nobby Works (141 pp.) $9.99 paper | $9.99 e-book Oct. 15, 2018 978-0-941913-09-6 In Riley’s (The Great Deflategate Conspiracy, 2015) novella, a 21st-century movie finds its way onto a theater screen in small-town 1950s New England.

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The author does an excellent job of documenting mid-20th-century American poverty in a way that feels simultaneously unusual and completely relatable. choices

reinvigorates the legend of the Wissonet Witch, a tale whose roots can be traced to the founding of the town. While John is tracking a stolen boat and attempting to identify a killer, Mary dives into the town’s history and discovers startling revelations about Wissonet’s roots. Rotch offers a multilayered story as the Wendells find themselves caught in a warped web of past and present that threatens their very lives. The historical mystery, focused on the birth of Wissonet and the legend of the witch, is intriguing. Whereas the commodore’s murder feels like a run-ofthe-mill case with a rather unremarkable pool of suspects, the secrets surrounding the untimely deaths of members of one of the town’s founding families involve appealingly quirky players.

Still, there is room for additional character development; the author could have delved more deeply into Ruth and Prudence Cummings, strong women who were victimized, misunderstood, and misremembered. But there are some captivating lessons here about whose version of history is accepted as fact and how the past can be twisted and used to impact the present day.

A satisfying mystery that demonstrates the risks of manipulating history.

at an Army base and left it on the kitchen stove—only to have it explode and injure their mother. The author also does an excellent job of documenting mid-20th-century American poverty in a way that feels simultaneously unusual and completely relatable.

A disturbing but inspiring memoir of a difficult childhood and adulthood.

THE BEAR, THE BULL, AND THE CHILD OF LIGHT A Prehistoric Novel Settegast, Mary Rotenberg Press (313 pp.) $23.00 paper | Sep. 28, 2018 978-1-73241-220-0

CHOICES A Story of Survival

Runyan, M. Kay CreateSpace (153 pp.) $9.99 paper | Dec. 7, 2018 978-1-72744-155-0

In this debut memoir, Runyan describes how she was shaped by her hardscrabble upbringing.

The author was born in the early 1940s in the tiny home of poor tomato farmers in the Red River Valley of Texas. Her father frequently moved the family in his pursuit of better opportunities—from studying at a Bible college in Arkansas to driving a school bus in West Texas to working at a sawmill in Oregon—until his crippling depression made him unable to work. Runyan writes that her harsh, often violent mother did her best to keep the family fed, but there were many times when the kids went without food. The author writes that she was raped by her older sister’s husband when she was young, and not long afterward, at 16, she eloped with a boy from her school and tried to build an adult life—one far removed from poverty and instability. However, the boy she married turned out to be an unreliable husband, and having three kids of her own quickly taught her that life is never easy. Indeed, as she attempted to find lessons about how to be a woman in the world, she looked back on her mother’s behavior with greater understanding. Runyan’s prose is folksy but sharp, particularly when it’s filtered through her perspective as a young girl: “It turned out that Daddy had heard God call on him to preach the Gospel....Did he come right down from heaven, walk into the house, and call out to Daddy to come and listen to him? Maybe he sent an angel down to tell him.” The book’s tone is often cheery despite the subject matter’s bleakness, and several scenes contrast childhood play with grim reality, as when Runyan and her brother found a bullet |

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In this debut Neolithic novel, a cavedwelling boy’s life utterly changes when he’s kidnapped by obsidian traders and taken to a bustling urban center.

Born in 6350 B.C.E. in what’s now northern Turkey, Tulirane, called Tuli, is 7 years old and lives with his small family group in a sheltered cave. After an especially severe winter, the tribe faces famine. Usually ignored, Tuli becomes a hero when he discovers a hibernating bear, whose meat saves the tribe and their relatives from starving to death. Later that summer, Tuli is allowed for the first time to join the clan when it moves south, seeing new sights, meeting new people, and hearing of new dangers, like raiders who kidnap women. And Tuli at last learns the story of his father, a northern stranger named Rane, who was searching for a holy man to the south (perhaps, it’s hinted, Zarathustra himself). Tulirane (or “Light of Rane”) inherited his father’s height, blue eyes, fair skin, and golden hair, making him stand out among the swarthier, shorter peoples of the Anatolian plateau. Searching for obsidian one day, Tuli is kidnapped by raiders who think he’s a girl. When his captor, Makros, discovers otherwise, he’s not dismayed; instead, he begins working on a scheme to use Tuli for a power grab in his home, Bhelsakros (the tale’s name for Çatalhöyük, one of the world’s first cities).

Biding his time, Makros houses his new slave with a kind master obsidian crafter, Urik. Though Bhelsakros is bewilderingly strange, with its bustle, noise, stench, and strange customs, Tuli settles in and learns to craft perfect, long obsidian points, an art he finds deeply compelling. After several years, Makros’ plans come to fruition—plans that will involve Tuli in a secret ritual, a conflict between warriors and priests, and the dawning of a new age in Anatolia.

In her intelligent and absorbing novel, scholar Settegast (When Zarathustra Spoke, 2005, etc.) writes of a time when the Near East was in flux. Hunting and gathering, nomadic pastoralism, and proto-urban living were all practiced in Turkey circa 6400 B.C.E. This cultural complexity, together with the religious and political disputes of the time, gives full flavor to Tuli’s story. At times, Tuli can sound overly academic or stiff, but that’s a small matter. Observant and sensitive, the boy is an engaging narrator, and his descriptions of life and work 8,000 years ago are captivating: how to kill a bear with no more than a 159

QUEERIES

We talk to Omise’eke Tinsley, author of Beyoncé in Formation

By Karen Schechner Photo courtesy Tom Storm Photography

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Femme invisibility—the assumption that feminine-presenting women are less queer or less serious than our masculine-ofcenter counterparts, typified by the surprised “You’re queer?

But you’re so pretty!”—is amplified for black women. There was a lesbian bar in San Francisco, The Lex, where butches and femmes went to meet and enjoy the sexiness of their queer genders. White femmes were doted on by butches and transmen, but I—who went dolled up in platforms, skirts, and lipstick just like them—was treated as an annoying interloper, a silly straight-presumed girl in the way of their serious butch cruising. When I was writing Beyoncé in Formation, I was thinking a lot about what it means to celebrate black femininity on its own terms: not as a counterpart to black masculinity or white femininity, but beautiful and creative and powerful by, for, and in itself. So I wrote foregrounding my own position and autobiography as a black femme who’s empowered by the amazing, worldwide visibility of Beyoncé’s over-the-top, hyperfeminine, blinged-out, stilettoed, sparkling black femininity. Beyoncé’s call to get in formation and slay all day reminds me that those of us brave enough to embody black femininity can be serious as a flood about gender and sexual subversion, too.

You describe Beyoncé in Formation as a “textual mixtape dedicated to all the women and femmes who listen to Beyoncé while we try to make fem(me)inist sense of our lives.” Why a mixtape, and what were some of the pros and cons of the format?

In Beyoncé in Formation: Remixing Black Feminism, Omise’eke Tinsley says that the world typically responds with a shrug, if at all, when black women declare themselves feminists—except for Beyoncé. When Queen Bey stands in front of a giant, lit-up sign that reads FEMINIST, says Tinsley, “a generation of young women are growing up with something we’ve never seen before: an image of feminism that’s overwhelmingly positive and undeniably black. And that’s something that all feminists should pay attention to.” So is her book, which our reviewer says is “sure to appeal to scholars and pop-culture enthusiasts alike.” Here, Tinsley, an associate professor of African and African Diaspora Studies at the University of Texas at Austin, talks with us about “blinged-out, stilettoed, sparkling black femininity,” sexual subversion, and getting in formation.

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Will you talk about “black femme invisibility” and the ways Beyoncé in Formation works to counter it?

Beyoncé’s music is powerful in its ability to start conversations that matter to black women’s lives. Taking my cue from her, I wanted to put “Lemonade” in conversation with all kinds of black Southern femininities: from blues to New Orleans Bounce, quadroon balls to the Country Music Awards, and Love & Hip Hop: Atlanta to #SayHerName.

Without really knowing what I was doing, I pieced together bits of popular culture, academic texts, and personal experiences to make something that sounded to me like all of that. I was halfway through when I realized I was making a textual

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mixtape: taking a mishmash of texts, like songs, and looking for where and how they could harmonize and flow together. It was hard—scary at times, really!—but it let me be creative and enjoy writing this much like I enjoy putting together a playlist.

Your University of Texas class “Beyoncé Feminism, Rihanna Womanism,” on black feminism, drew national media attention and packed the lecture hall. How did the class affect you and your students?

wooden mallet and some smoldering pine branches; the difference between obsidian worked with a stone hammer and with an antler punch; how to navigate a city that has no streets or alleyways by rooftop and ladder. The author illuminates ideas, such as the differences between wild and pastoral, in ways that are thought-provoking but still part of the story. The suspenseful conclusion has an unexpected and satisfying resolution— one that may leave readers hoping for a sequel.

A long-ago world comes fully alive in this richly imagined tale.

The class completely changed how and why I teach undergraduates. From the first day of the first lecture, when black women and black gay men crowded the front row and lovingly took charge of the conversation, I felt how much students of color in PWIs [predominantly white institutions] need courses like these. I felt how much it meant to them that a professor was taking Beyoncé seriously. That someone was reflecting back that the lyrics they sing, the songs they dance to, their shirts that proclaim “I Slay” just might be important and worthwhile— just might be the meaningful sources of empowerment they always felt them to be.

THE MADNESS OF FEAR A History of Catatonia

Shorter, Edward & Fink, Max Oxford University Press (224 pp.) $39.95 paper | $38.99 e-book Jul. 28, 2018 978-0-19-088119-1

So many! Nalo Hopkinson, Alexis De Veaux, Dionne Brand, Sharon Bridgforth, Dane Figueroa Edidi, Yvonne Fly Onakeme Etaghene, Alexis Pauline Gumbs, Ana Lara….

What are you working on next?

I’m writing about black femme power in Janelle Monáe’s “Pynk” and Janet Mock’s work on Pose. I love my work.

Karen Schechner is the vice president of Kirkus Indie.

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The psychiatric establishment blew it on one of the most important mental illnesses, according to this academic treatise.

Shorter (What Psychiatry Left Out of the DSM-5, 2015), a psychiatrist and historian at the University of Toronto, and Fink (Electroshock, 2008), a psychiatrist at Stony Brook University medical school, investigate the vexed history of catatonia, a terrifying mental disorder with a panoply of bizarre symptoms. Catatonic patients can fall into a stupor, staring fixedly into space while frozen into rigid postures for hours on end, refusing to talk, eat, or comply with any request; make strange, repetitive motions and grimaces; or burst into violence and self-mutilation. Though outwardly uncommunicative, sufferers are often alert and feel a sense of extraordinary fear during catatonic episodes, and not without reason—in extreme cases, victims have been mistaken for corpses and buried alive. Catatonia was identified as a distinct disease in 1874, but the psychiatric mainstream during most of the 20th century, the authors contend, incorrectly characterized it as a subtype of schizophrenia, with tragic results. Schizophrenic patients with catatonia were given drugs that were ineffective or made things worse while other cases often went undiagnosed—even though successful treatments, through drugs and electroshock, had been available since the 1930s. Shorter and Fink offer a probing, well-informed, and very readable account of the arcane theorizing and factional struggles by which psychiatrists hashed out a consensus on catatonia, schizophrenia, and other psychic ailments, one that’s enriched with dozens of intriguing case studies. (One patient snapped out of his immobility only when told he was pitching a baseball game, a task he dutifully undertook in the hospital hallway; another did somersaults for weeks until she died.) Their scholarly approach doesn’t preclude colorful opinionating. They write that catatonia “was kidnapped by dementia praecox and schizophrenia, the Bonnie and Clyde of the diagnosis world”; disparage the concept of schizophrenia itself as “a wastebasket for the unclassifiable and untreatable”; and dismiss the whole of

Who are some of your favorite contemporary queer writers?

Freudian psychoanalysis as “an obscure offshoot of speculative philosophy.” The result is an engrossing portrait of a fearsome and fascinating disease and a searching inquiry into the ways in which doctors misunderstand the mind.

A fine study of desperate patients and the shrinks who failed them.

ill and dying soon took a toll. Burnout was all around him; he even wrote an exposé on physician suicide rates for the New York Times.

Worried that happiness couldn’t coexist with medicine, he was determined to search for joy in the context of life-threatening illnesses. In “Urine Trouble,” the funniest anecdote, a man called Harry, who was summoned to court for public urination, faked a seizure to go free. Cleared of neurological problems but suffering from cognitive impairment, he remained on the ward as a “social admit.” Harry refused to shower until Sinha agreed to accompany him to the rooftop healing garden—where he promptly urinated into a stream. “Nails and Screw-ups” has a similarly tidy, full-circle structure, opening and closing with scenes of the author cutting the toenails of Michael, a morbidly obese patient at the VA clinic.

In between, Sinha regretted that his poor medication decision landed the man with hefty hospital bills. The author is always cognizant of how comedy and tragedy alternate, or even overlap, in emergency situations. Other tales see him saving Christmas for Carol, who accidentally mixed whiskey and Valium; watching an intern say the Lord’s Prayer with Raymond, dying of an abdominal infection; and helping a family make the decision to take cancer patient Ted off life support. These punchy essays (five of which have been previously published on websites) glisten with just-right details, dialogue, and characterization. Sinha also pays tribute to Yogesh, a chief resident who showed “empathy, vulnerability, and grace” while dying of brain cancer. A closing letter to his future self returns to the Introduction’s themes by warning against “the ever-present threat of crippling cynicism.”

The only problem with the book? It’s too short—let’s hope a few more years in practice will give the author sufficient material for a full-length work.

Prescription: Read. Laugh. Cry. Repeat.

IN THE SPACE BETWEEN MOMENTS Finding Joy and Meaning in Medicine

Sinha, Pranay Self (69 pp.) $0.99 e-book | Sep. 14, 2018

A trainee doctor combats burnout with heartening stories of how medical professionals make a difference in patients’ lives.

Debut author Sinha wrote these seven concise, well-crafted pieces while he was in internal medicine residency training at Yale New Haven Hospital. As a new intern, he had “the energy of a lively puppy,” but long hours spent with the

This Issue’s Contributors # ADULT Colleen Abel • Mark Athitakis • Eleanor Bader • Colette Bancroft • Sarah Blackman • Amy Boaz • Ed Bradley • Jeffrey Burke • Lee E. Cart • Kristin Centorcelli • Jennifer Coburn • Ben Corbett • Perry Crowe • Dave DeChristopher • Kathleen Devereaux • Bobbi Dumas • Daniel Dyer • Lisa Elliott Jackie Friedland • Kinsey Gidick • Amy Goldschlager • Miriam Grossman • Peter Heck • Katrina Niidas Holm • Dana Huber • Chelsea Langford • Ruth Langlan • Tom Lavoie • Louise Leetch • Judith Leitch • Elsbeth Lindner • Michael Magras • Summer McDonald • Don McLeese • Gregory McNamee • Clayton Moore • Karen Montgomery Moore • Laurie Muchnick • Ismail Muhammad Molly Muldoon • Christopher Navratil • Mike Newirth • John Noffsinger • Mike Oppenheim • Jim Piechota • William E. Pike • Margaret Quamme • Amy Reiter • Christopher R. Rogers • Michele Ross • Bob Sanchez • E.F. Schraeder • Gene Seymour • Polly Shulman • Rosanne Simeone • Linda Simon • Clay Smith • Wendy Smith • Margot E. Spangenberg • Rachel Sugar • Bill Thompson • Claire Trazenfeld • Jessica Miller • David L. Ulin • Michael Valinsky • George Weaver • Steve Weinberg Kerry Winfrey • Marion Winik

PEOPLE OF METAL

Snyder, Robert Black Rose Writing (324 pp.) $20.95 paper | $6.99 e-book Nov. 29, 2018 978-1-68433-153-6

CHILDREN’S & TEEN Lucia Acosta • Autumn Allen • Alison Anholt-White • Elizabeth Bird • Marcie Bovetz • Christopher A. Brown • Jessica Brown • Timothy Capehart • Patty Carleton • Sandie Chen • Ann Childs • Alec B. Chunn • Anastasia M. Collins • Jeannie Coutant • Julie Cummins • Dave DeChristopher • Erin Deedy Elise DeGuiseppi • Lisa Dennis • Andi Diehn • Luisana Duarte Armendáriz • Brooke Faulkner Laurel Gardner • Judith Gire • Carol Goldman • Melinda Greenblatt • Vicky Gudelot • Heather L. Hepler • Gerry Himmelreich • Julie Hubble • Shelley Huntington • Kathleen T. Isaacs • Betsy Judkins Zainab Kabba • Deborah Kaplan • Megan Dowd Lambert • Angela Leeper • Lori Low • Wendy Lukehart • Kyle Lukoff • Meredith Madyda • Pooja Makhijani • Joan Malewitz • Michelle H. Martin PhD • J. Alejandro Mazariegos • Gregory McNamee • Kathie Meizner • Mary Margaret Mercado Daniel Meyer • Sabrina Montenigro • Lisa Moore • Katrina Nye • Tori Ann Ogawa • Kim Patton • Deb Paulson • Rachel G. Payne • John Edward Peters • Susan Pine • Rebecca Rabinowitz • Asata Radcliffe Kristy Raffensberger • Amy B. Reyes • Nancy Thalia Reynolds • Amy Robinson • Christopher R. Rogers • Erika Rohrbach • Leslie L. Rounds • Hadeal Salamah • Patricia Sarles • Katie Scherrer • Dean Schneider • John W. Shannon • Karyn N. Silverman • Lenny Smith • Jennifer Sweeney • Deborah Taffa Pat Tanumihardja • Tharini Viswanath • Christina Vortia • Angela Wiley • S.D. Winston

In this sci-fi tale, the destiny of mankind is drastically altered after new technology allows the copying of human minds into robotic chassis—and ultimately, the resulting beings must save

the last Homo sapiens.

Snyder’s debut saga opens in 2014 with Graham Gordon, a Canadian youth, reading a Popular Science article about new advances in interfacing animal brains with computers. Later, the adult Graham does robotic research as scientists in a ruthlessly ambitious China and in a corporate-corrupted United States race to develop artificial, humanoid soldiers. He figures out how to copy human minds (with all their useful job skills, experiences, and interpersonal nuance) into software, but instead of creating marching automaton armies, a Sino-American cooperative effort mass-manufactures a nicer breed of robots with the ability to think. These durable, tireless, guileless “Machines” go on

INDIE Rebecca Leigh Anthony • Kent Armstrong • Darren Carlaw • Charles Cassady • Michael Deagler Stephanie Dobler Cerra • Steve Donoghue • Eric F. Frazier • Devon Glenn • Morgana Hartman Lynne Heffley • Justin Hickey • Ivan Kenneally • Mandy Malone • Collin Marchiando • Joshua T. Pederson • Jim Piechota • Sarah Rettger • Erica Rivera • Megan Roth • Mark A. Salfi • Jerome Shea Barry Silverstein • Holly Storm • Emily Thompson • Nick A. Zaino

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The voice of the narrator is spot-on, brilliantly portraying a self-involved and exceedingly callous caricature of a modern-day magnate. the billionaires’ handbook

to replace the human labor force entirely. However, “Malaise,” a fatal torpor typified by suicide and addiction, levels humanity. The ultrasensible Machines have personalities, opinions, and quirks—all cut and pasted from real people—but they lack the incentive for evil. So, as mankind languishes on the edge of extinction, Machines conclude that it’s only fair to rescue their inventors. Leading the effort is Keisha, a Machine copied from long-dead novelist Amelia Dixon; Bill Weinberg, copied from Dixon’s money-manager husband; and other roboticized VIPs from an earlier era. The style of this seven century–spanning chronicle of robotic evolution (and human devolution), told largely in anecdotal fashion, sometimes verges on reportage. At times, it recalls Isaac Asimov’s iconic, linked short story cycle I, Robot (1950), although nobody mentions “positronic brains” here. Snyder’s story indulges in the utopian speculation of early sci-fi works, as the wise, verbose Machines implement programs for restoring “biological” civilization to its glory, while also sidestepping its socio-economic pitfalls and pathologies.

This optimistic novel does lack the slam-bang robot action of a Terminator movie, but the Machines make charming company as they engage in lengthy discussions about how and why biological culture went buggy—and about ways to put it right.

An unusually rosy, if rather talky, take on the relationship between humans and robots.

pronouncements “addressing the divine aspect” of the sacred.

Soltes furnishes a wide-ranging history—the display of erudition is breathtaking—that considers not only the nature of religion itself, but also the unfolding of the term “magic” as a mark of illegitimacy and part of a terminology strategy to discredit the spiritual other. The author brilliantly discusses the best of Judeo-Christianity’s “serious competition,” including traditions like Roman Mithraism, which likely influenced the nature of Christianity just as it was surpassed by it. Soltes also assesses the gradual movement toward monotheism and the central role of demonology in Christianity—part of the religion’s particular success stemmed from its articulation of a compelling adversary.

Further, the author is careful to avoid overconfidently compartmentalizing historical causes—he candidly discusses the way in which a common theological amalgamation makes neat distinctions nearly impossible.

Deep and historically scrupulous, this book is an important contribution to the study of comparative religion.

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THE BILLIONAIRES’ HANDBOOK A User’s Guide to Wealth and Power Stevenson, Andrew Manuscript

MAGIC AND RELIGION IN THE GRECO-ROMAN WORLD The Beginnings of Judaism and Christianity

A sardonic spoof of business books that lambasts the superrich.

In this cleverly structured, darkly humorous book, portfolio manager/investment banker Stevenson (Cynicism, 2016) writes from a first-person perspective, as if he’s a billionaire candidly revealing his worldview. The resulting mock “handbook” begins with an overview of what he calls “The Old Rules.” In it, the narrator breaks economic history into three main periods: Mercantilism, Capitalism, and Cynicism—the latter of which, he says, is the “new economic system” that has replaced capitalism. Thirty “New Rules” of the post-capitalistic economy follow, each of which Stevenson outlines in biting, satirical text.

For example, Rule 15 says that “a CEO’s value is measured by how much of their company’s cash they can get away with transferring into my bank account,” while Rule 22 proclaims, “if you pay someone enough you can always get the answer you are looking for.” Each of the rules, just a few paragraphs long, follows a similarly humorous path. The second part of the book is even darker in tone, as the narrator claims that the 2008 financial meltdown allowed billionaires to tap into “newfound fear and anxiety”: “Then we elected one of our own the President of the United States, and before you knew it, we were right back on track.” (An accompanying illustration shows a Donald Trump–like figure on a throne.)

The narrator then proceeds to deliver 25 more rules that take aim at current issues and beliefs with uproarious cynicism. The author addresses health care, immigration, “fake news,” and other topics, depicting billionaires as narcissistic, hardhearted, and morally corrupt. One rule, for instance, advises that “empathy is the enemy of ‘the people’ and by ‘the people’ I mean rich people,” while another observes that “a shrinking middle class is great for lowering your

Soltes, Ori Z. Academia-West Press (396 pp.) $29.99 paper | Aug. 25, 2017 978-1-5465-0315-6

A scholarly account explores the development of Judaism and Christianity in response to a pagan world as well as the emergent distinction between religion and superstition.

The historical arc of Christianity—from a persecuted sect of radicals to the official faith of Rome—raises serious questions about what precisely distinguishes true religions from false ones, myth from reality, and a dominant spiritual metaphysic from the superstitious practice of magic. Soltes (Mysti­ cism in Judaism, Christianity, and Islam, 2008) attempts to answer these questions by looking at the ways in which Christianity and Judaism evolved out of a “Hebrew-Israelite-Judaean tradition” of which they both claimed to be the proper heirs. Their dual development was at least partially borne out of their confrontation with pagan competitors not only for disciples, but also for political legitimacy from the Roman authorities. The author provides a captivating and philosophically searching analysis that shows that a rigorous theoretical distinction between religion and magic—the feature all regnant religions refer to when trumpeting their superiority—is impossible to draw. In the absence of such demonstrable traits, triumph becomes a function of political power, of who gets to make |

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THE RISE & FALL OF NASHVILLE LAWYER TOMMY OSBORN Kennedy Convictions

company’s wage bills.”

The book’s closing section, “A Few Years Later,” offers readers a novel contrast; in it, the billionaire narrator has retired and has decided that he’d like to be remembered as “The Greatest American of the 21st Century.” The 20 rules that he puts forth at this point reflect the actions of a more compassionate, philanthropic, and socially conscious person; ironically, however, he offers these rules solely in a personal bid for immortality. Overall, there are several elements that make this parody stand out. The voice of the narrator, for one, is spot-on, brilliantly portraying a self-involved and exceedingly callous caricature of a modern-day magnate. Despite occasional grammatical errors, the text is consistently cunning and merciless, and it’s made all the more effective by the inclusion of vibrant, colorful illustrations that cleverly reinforce the content throughout. The last section of the book shrewdly presents what American society could possibly be like if the people in it followed moral tenets of justice and fair play. Overall, this is a tour de farce that offers an unrelentingly amoral, profit-driven characterization of a billionaire, and as with all potent satires, the author’s words hit the mark more often than not.

A wicked and witty work.

Tabac, William L. The History Press (168 pp.) $23.99 paper | $14.99 e-book Oct. 22, 2018 978-1-4671-3804-8 A penetrating examination of the personal tragedy that befell a lawyer defending Jimmy Hoffa.

Tabac (Law/Cleveland State Univ.; The Insanity Defense and the Mad Murderess of Shaker Heights, 2018) unearths a previously untold story. Combining court transcripts, newspaper accounts, books about other figures, and interviews, he reconstructs the little-known life, dramatic career, and untimely death of Zeno Thomas Osborn Jr. In 1962, the Nashville lawyer won Baker v.

Carr, the landmark Supreme Court case that established “one man, one vote.” In 1964, Osborn represented Hoffa, the Teamsters boss best remembered for disappearing in 1975 following decades of headlines involving organized crime and federal prosecutions. Tabac places Osborn in the context of Attorney General Robert F. Kennedy’s protracted war with Hoffa and tracks down surviving veterans of its cloak-and-dagger skirmishes. He recounts his own successful 2009 effort to unseal grand jury testimony from the jury tampering trial that destroyed Osborn and reprints the damning transcript of a trickster’s secret recording. He paints Osborn not as a crooked lawyer corrupted by cash but a man who made the mistake of becoming Hoffa’s friend and loyalist. Tabac deftly calibrates his tone as the narrative shifts from Osborn’s Supreme Court victory to the seamy jury tampering episode, borrowing language from soft-boiled fiction: “Partin had clammed up before the grand jurors.” Short chapters maintain a lively pace, and the storytelling is authoritative and tantalizing. Given how vividly Tabac describes private meetings, conversations, and motives, other historians might wish to judge whether he has embellished or misinterpreted sources. His documentation won’t help much; the author provides a bibliography but no footnotes or endnotes. Some in-line references are available books, articles, or transcripts. Many are simply told “to the author.” Nevertheless, he displays balance and objectivity. As historical scholarship, this account may not quite please purists, but Tabac deserves credit for rescuing a forgotten slice of legal history and capturing its inherent drama and enduring lessons.

Certain to please true-crime and legal-thriller aficionados.

K I R K US M E DI A L L C # Chairman H E R B E RT S I M O N President & Publisher M A RC W I N K E L M A N Chief Executive Officer M E G L A B O R D E KU E H N # Copyright 2019 by Kirkus Media LLC. KIRKUS REVIEWS (ISSN 1948- 7428) is published semimonthly by Kirkus Media LLC, 2600Via Fortuna, Suite 130, Austin, TX 78746.

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By means of a thoughtful introduction and epilogue, the author situates his story amid current debates about appropriate male behavior. erection

ERECTION A Memoir

NOW I SAY GOODBYE TO YOU

Thomas, David iUniverse (144 pp.) $23.99 | $13.99 paper | $3.99 e-book Aug. 29, 2018 978-1-5320-5001-5 978-1-5320-5002-2 paper

Wright, Brooks Blurb (354 pp.) $15.95 paper | Oct. 16, 2018 978-1-389-06047-2

A frank exploration of men’s sexuality in the context of a memoir.

The central theme of this sharp debut is Thomas’ notion of “crotch thinking,” a form of toxic masculinity he defines as “sexually driven actions that cripple private lives in ways subtle enough to escape detection and display.” In the first two chapters, Thomas effectively connects personal coming-of-age tales with repressed societal mores of the post–WWII era, a valuable historical reminder, especially for readers of subsequent generations. Retrospectively, by the end of the book, he is able to see how his decisions and behaviors affected loved ones, including three wives and three children. He asserts that much of the domestic conflict throughout his life stemmed from a failure to understand his own motivations, his partners’ needs, and his children’s coping mechanisms. The title of the book thus moves beyond the obvious phallic reference and expands to include a construction metaphor, that is, the building of a satisfying career, personal life, and physical home, complete with false starts, unexpected complications, unforeseen costs, and modified plans. In addition to a primary focus on personal and family relations, the book addresses a wide array of other topics, including the pressures and temptations of academia, the exhilaration and trappings of social mobility, and the tragedy of substance abuse, just to name a few. Thomas writes clearly and precisely, no surprise given his career as a professor of communication. His choice to employ the present tense lends a sense of immediacy to the action despite the past-gazing framework of the memoir genre.

He closes with a poem in free verse written for his third wife, a synthesis of everything that has come before regarding the challenges and rewards of romantic partnerships. Furthermore, by means of a thoughtful introduction and epilogue, the author situates his story amid current debates about appropriate male behavior via the #MeToo Movement and a whole myriad of contentious cultural issues surrounding sex.

More nuanced and broader in scope than its provocative title suggests.

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A homeless man comes tantalizingly close to his old life and happiness only to question that joy.

In this novel, Wright (The Sky Is Far Away, 2018, etc.) gives readers a homeless, nameless man trying to survive after the mother of all housing bubbles has burst. He is somewhere in Florida, breaking into foreclosed houses in search of food.

He has bottomed out: He’s lost his job and his family and even spent a year in prison. He has also lost all hope and wants only to be left alone. Then he comes upon a little girl—as hungry and thirsty as he is—in an abandoned house. Try as he might, he cannot bring himself to desert her. He finds an abandoned cabin and a job with a guy who is scrapping a nearby defunct amusement park, Fun-O-Rama (a wonderful metaphor). The girl, whose name readers finally learn is Jessie, is severely traumatized and mute. Ever so slowly, she begins to trust the man (her first words to him: “Are you Jesus?”). When she falls sick, he gets her to a hospital. She recovers, but now the police are very interested in his relationship with this kid and in his past. Many more things happen, but it is his need for Jessie that drives it all. The ending is artistically risky but truer than the conclusion readers will probably crave. Wright is a flat-out wonderful writer.

The prose is crisp (“Unhappy should be a weather forecast like rain or snow”), the details spot-on, and the slow development meticulous. The nameless man—the first-person narrator—is an unforgettable character, always talking about the stories in life, like the “I Work Out and Exercise” and “Never Feed a Stray Animal” tales. He is in love with his bitterness but, try as he might, can’t excise his basic decency. This painful novel delivers heartbreak—but no sentimentality—and consummate thaumaturgy or, in the narrator’s words, “I’m both the magician and the trick.”

This tale of two survivors should move you, cajole you, upset you, and seduce you.

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Books of the Month ALONE IN A CROWDED ROOM

OBJECTION

A masterful adoption tale: heartrending and life-affirming in equal measure.

A stimulating treatise on how lofty ideals can grow from primitive, unreliable urges.

Constance Bierkan

Debra Lieberman & Carlton Patrick

A YEAR OF LIVING KINDLY

THE ENCELADUS MISSION

A thorough, genuine, and highly effective self-help work.

A space odyssey that’s worth taking.

Donna Cameron

Brandon Q . Morris

BENICE

NORMAN

A Treasure Island for the modern era, recommended for middle-grade readers and fans of pirate-adventure tales.

A funny, pun-heavy title about finding your purpose by embracing your talents.

Michelle Olson Illus. by the author Photos by Brian Kester

Metin Karayaka Illus. by Rohan Daniel

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Appreciations: Umberto Eco’s Foucault’s Pendulum Turns 30

B Y G RE G O RY MC NA MEE

Photo courtesy Rob Croes

The phone company, don’t you know, killed Kennedy. Had there been a phone company at the time, it would have killed Lincoln too. Lincoln, a Rosicrucian, had a guy named Kennedy working for him. Kennedy had a guy named Lincoln working for him.

There’s no historical event on record that doesn’t admit the possibility of a conspiracy theory or, indeed, of a conspiracy. All we know for certain is that the world is governed by chaos, full of dark corners. Mysterious forces, inexplicable eruptions of the spirit, cruel fixations, and mad superstitions drive our history, our societies: Witness Hitler and the Inquisition and other manifestations of unseen powers.

This strange demimonde fueled the literary career of Umberto Eco, the Italian philosopher who died just shy of three years ago and who came onto the scene in 1980 with The Name of the Rose, a deliciously learned medieval murder mystery that has since inspired dozens of kindred novels, some good and some (think almost anything with “codex” in the title) not. Eco followed with a yarn that astonished a little less but

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that still drew on his deep learning, vast book collection, knowledge of medieval mysticism, and his own skepticism: Foucault’s Pendulum, which appeared in English in 1989.

Eco’s novel, whose title derives from the giant Parisian plumb line that illustrates the rotation of the Earth, centers on three editors at a Milanese publisher who pass their days by inventing oxymoronic courses for a projected School of Comparative Irrelevance. The narrator, Casaubon, a scholar who has written a searching book on the Knights Templar but can’t find a university job, and his colleagues Belbo and Diotallevi, all hardened cynics, view their editorial work as a kind of sacred mission that itself hints of conspiracy, calling it “like being God in plain clothes.”

A Col. Ardenti wanders in with a pitch to publish a history of the Knights Templars, a military order of monks enriched by the Crusades and crushed by papal order in the early 1300s—just the kind of thing that the doubtful Casaubon ought to savor. Ardenti is certain that the Knights Templars still exist and secretly rule the world, and, as if to highlight the point, Belbo and Diotallevi disappear. It is up to Casaubon to save the day, though it’s never really clear that he’s up to the job.

Guided by hints Belbo has hidden in his computer, Casaubon sounds the depths of one occult organization after another: Numerologists, Illuminati, Nazis, New Agers, Freemasons, and other swimmers in the “tellurian currents” present their bizarre worldviews, which only confuse Casaubon’s quest. Every one of them is suspect: “Historical materialism?” one of his advisers remarks. “An apocalyptic cult that came out of the Trier region.”

And so Casaubon wanders to a nicely twisted ending that bares the totalitarian fascination with secrecy, the fascist love for the occult, obsessions that define the will to power, mysticism become political. Given our own penchant for theories that attempt to make sense of such abundant and ubiquitous weirdness, Foucault’s Pendulum is timeless—and well worth reading in this anniversary year.

Gregory McNamee is a contributing editor. |

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