School Library Journal : Gr 5–9—Blue is scrawny and nice. He is harassed by a big, dumb, smoking boy named Hopper. Blue's father died suddenly when he was younger. To cope, he wrote a comic book about a feral boy who gets to express his anger and loneliness through violent revenge, something Blue can't or won't do. Then parts of the story merge with real life. The characters' conversations and relationships are believable. The story is so thin, though, that there's little chance to care about the players. McKean's tonal watercolor panels, which illustrate roughly half of the pages, are full of palpable rage—gorgeous, frightening, and highly effective images. They set an ornery, mysterious mood that Almond's lackluster story never quite matches. Though the prose is clear and simple, the pace, in an attempt to build mystery, is too methodical for so obvious an allegory. The phonetic spelling in Blue's comic indicates a child much younger than the novel's somewhat confusing chronology indicates.—Johanna Lewis, New York Public Library

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School Library Journal : Gr 6–10—Set in New York City at the beginning of the American Revolution, Chains addresses the price of freedom both for a nation and for individuals. Isabel tells the story of her life as a slave. She was sold with her five-year-old sister to a cruel Loyalist family even though the girls were to be free upon the death of their former owner. She has hopes of finding a way to freedom and becomes a spy for the rebels, but soon realizes that it is difficult to trust anyone. She chooses to find someone to help her no matter which side he or she is on. With short chapters, each beginning with a historical quote, this fast-paced novel reveals the heartache and struggles of a country and slave fighting for freedom. The characters are well developed, and the situations are realistic. An author's note gives insight into issues surrounding the Revolutionary War and the fight for the nation's freedom even though 20 percent of its people were in chains. Well researched and affecting in its presentation, the story offers readers a fresh look at the conflict and struggle of a developing nation.—Denise Moore, O'Gorman Junior High School, Sioux Falls, SD

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Publishers Weekly: Starred Review. With an eye trained to the hypocrisies and conflicted loyalties of the American Revolution, Anderson resoundingly concludes the finely nuanced bildungsroman begun in his National Book Award–winning novel. Again comprised of Octavian's journals and a scattering of other documents, the book finds Octavian heading to Virginia in response to a proclamation made by Lord Dunmore, the colony's governor, who emancipates slaves in exchange for military service. Octavian's initial pride is short-lived, as he realizes that their liberation owes less to moral conviction than to political expediency. Disillusioned, facing other crises of conscience, Octavian's growth is apparent, if not always to himself: when he expresses doubt about having become any more a man, his mentor, Dr. Trefusis, assures him, That is the great secret of men. We aim for manhood always and always fall short. But my boy, I have seen you at least reach half way. Made aware of freedom-fighters on both sides of the conflict (as well as heart-stopping acts of atrocity), readers who work through and embrace Anderson's use of historical parlance will be rewarded with a challenging perspective onAmerican history. Ages 14–up. (Oct.)

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School Library Journal : Starred Review. Gr 9 Up—Octavian, the 16-year-old slave whose story began in The Pox Party (Candlewick, 2006), continues his search for identity in this brilliant, affecting, and philosophical sequel. Octavian and his tutor escape from Octavian's master to relative safety in Boston where Octavian finds work as a violinist in a military band. After hearing of Lord Dunmore's promise of freedom for slaves, he enlists in the Royal Ethiopian Regiment. Following a loss at Norfolk, they then take up quarters aboard British ships, barely fending off starvation and smallpox. Octavian's uncertainty and doubt are tangible throughout. His detailed first-person narration is written in the richly expansive 18th-century prose introduced in volume one. He records the story while reviewing (and revealing to readers) his diary entries from the past year, so that "none of this shall pass from remembrance." He endures abuse, shame, grief, and humiliation, and comes close to despair; however, he is ultimately hopeful that humanity can aspire to more than warring and despoiling. Teens will identify with Octavian's internal tumult, how he experiences events as being acted upon him, and his transition from observer to participant, from boy to man. More than fascinating historical fiction, this is also a thoughtful and timeless examination of the nature of humanity and a critique of how society addresses (or ignores) identity, freedom, and oppression. Anderson's masterful pacing, surprising use of imagery and symbolism, and adeptness at crafting structure make this a powerful reimagining of slavery and the American Revolution dazzle.—Amy J. Chow, The Brearley School, New York City

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Publishers Weekly : Starred Review. Returning to material she uncovered while researching Hitler Youth, Bartoletti offers a fictionalized biography of Helmuth Hübener, a Hamburg teenager who, in February 1942, was arrested for writing and distributing leaflets that denounced Hitler. Almost nine months later, on October 27, at the age of 17, Hübener was executed for treason. Opening her story on Hübener's last day, Bartoletti frames the work as third-person flashbacks, casting over the narrative a terrible sense of doom even as she escalates the tension. She does an excellent job of conveying the political climate surrounding Hitler's ascent to power, seamlessly integrating a complex range of socioeconomic conditions into her absorbing drama of Helmuth and his fatherless family. The author also convincingly shows how Helmuth originally embraces Hitler. His disillusionment seems to come a little too easily; American readers may wonder why Helmuth's reactions were not more common. But that question resolves itself as the author exposes the chilling gap between her own admiration for her subject and reflections, discussed in an afterword, from those who knew Helmuth, as in this comment from his older brother: He should have known better than that.... A sixteen-year-old boy cannot change the government. Ages 11-up. (Feb.)

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School Library Journal : Gr 6–9—In the newly formed Third Reich, Hitler's initial political doctrine is filled with hopeful solutions for a country plagued with unemployment, poverty, and a post-World War I feeling of defeat. Propaganda and promises quickly turn to oppressive new laws including the required participation in the Hitler Youth. Helmuth Hübener enters the program and is at once impressed with the bravado, shiny uniforms, boots, and patriotic fever sweeping the country. But his Mormon-based teachings trigger questions in his mind about the reality behind the regime's invasions of neighboring countries, mistreatment of Jewish citizens, and closely controlled media. He creates an underground newsletter with information gathered from BBC reports using an illegal shortwave radio. As he secretly distributes the flyers throughout the town, his boldness encourages him to gather several accomplices resulting in his arrest, trial, and execution. The novel opens as he is on death row, and the story is told as a series of flashbacks. Helmuth is portrayed as a brave, outspoken voice amid a family of acquiescing brothers, mother, and new SS stepfather. Based on a real person, the novel includes black-and-white photos of Hübener and his family. Bartoletti offers another perspective on the Holocaust, demonstrating that even if the effort proves unsuccessful, the courage and convictions of a minority should be motivation to speak the truth rather than remain silent. It's a message that must be continually emphasized as a lasting legacy of the Holocaust.—Rita Soltan, Youth Services Consultant, West Bloomfield, MI

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Publishers Weekly : This first installment of the Knight and Rogue novels, a planned heroic fantasy series, chronicles the misadventures of a sarcastic 17-year-old ex-con and his idealistic employer, who is just one year older. Sir Michael Sevenson is a knight-errant, although, as the narrator puts it, that kind of romantic idiocy hasn't existed in more than two centuries. After Sir Michael saves the narrator, Fisk, from a lengthy jail sentence by hiring him on as his squire, the unlikely duo rescue an imprisoned damsel in distress from a tower—only to discover that they've freed a woman suspected of murdering her husband. To make amends, Sir Michael and his wily squire set out to capture the villainess and bring her back to trial. Bell (The Goblin Wood) fills the ensuing realm-spanning journey with magic-filled adventure and moments of downright hilarity, especially scenes involving Tipple, the alcoholic horse. While some serious shortcomings mar the narrative—characters aside from the two protagonists are essentially flat, and the world-building aspect is practically nonexistent—the fast-paced action and well-developed friendship between Sir Michael and Fisk make up for any inadequacies. Ages 12-up. (Sept.)

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School Library Journal : Gr 8–10—Longing for adventure, 18-year-old Sir Michael declares himself a knight errant (although the book has a medieval-era setting, no one has heard of such a thing in many years and the idea often gets him laughed at). Fisk, 17, is his indebted and unwilling squire. After rescuing Lady Ceciel from her prison tower, they learn that she is not a damsel in distress, but rather an accused murderess. Their attempts to bring her to justice result in her comeuppance and in the teens' tightly forged friendship that will clearly lead to further adventures. The novel is brimming with saved-by-a-hair escapades and fast-paced realistic action, told alternately from each teen's point of view. Their world is filled with "magica," a gift that allows its possessor to perform extraordinary tasks. In fact, while Michael and Fisk's bravery and wits frame their approach to the problems they incur, it is magica that enables them to escape their would-be dire fate. Nevertheless, the underlying messages could not be more real: the importance of truth, the value of friendship, and the need for staying true to oneself. Delivered skillfully, these ideas are sure to leave their mark on readers. Unusual and invented vocabulary is employed throughout. Like Bell's The Goblin Wood(2003) and The Wizard Test (2005, both HarperCollins), this well-created fantasy is a great read with worthwhile moral issues pertinent to its intended audience.—Nancy Menaldi-Scanlan, LaSalle Academy, Providence, RI

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Publishers Weekly : Starred Review. When Audrey breaks up with her musician boyfriend, Evan, he is inspired to write a song about it, a catchy tune that launches his band to the top of the music charts—and that makes Audrey the target of paparazzi and gossip magazines—and the queen bee at school. Although Audrey tries to hide from fame, it finds her anyway (a first date with a co-worker ends with a police escort from a record store, where a crowd has trapped them). Audrey's phenomenal celebrity seems unlikely but she herself feels completely believable, and readers will find her both sympathetic and funny. Benway displays a keen ear for dialogue; this first novelist has a knack for showcasing her characters' wit as well as their sincere concern for one another. Right after Audrey hears Evan's song for the first time, for example, she asks her best friend, So do I kill myself now, or do I wait and do it in front of Evan so he feels really, really, really bad? You're not going to kill yourself, the friend replies. Remember in health class, when they talked about how adolescents drink to mask pain? That's what you're going to do. (Note to worried adults:they drink a milkshake.) Irresistible. Ages 12–up. (Apr.)

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Publishers Weekly : Starred Review. Blundell, author of Star Wars novelizations, turns out a taut, noirish mystery/coming-of-age story set in 1947; it's easy to picture it as a film starring Lana Turner, who is mentioned in these pages. When first met, 15-year-old Evie and her best friend are buying chocolate cigarettes to practice smoking. Evie sheds that innocence on a trip to Florida, where her stepfather, Joe, back from the war in Europe, abruptly takes her and her beautiful mother, Beverly, and where Evie falls in love with glamorous Peter, an army buddy whom Joe is none too happy to see. But after a boating accident results in a suspicious death and an inquest, Evie is forced to revisit her romance with Peter and her relationships with Joe and her mother, and to consider that her assumptions about all three may have been wrong from the beginning. Blundell throws Evie's inexperience into high relief with slangy, retro dialogue: Peter calls Evie pussycat; Beverly says her first husband kicked through love like it was dust and he kept on walking. Readers can taste Evie's alienation and her yearning; it's a stylish, addictive brew. Ages 12–up. (Nov.)

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School Library Journal : Starred Review. Gr 9 Up—In 1947, 15-year-old Evie, her mother, Bev, and her stepfather, Joe, leave Brooklyn for a vacation in Palm Beach, FL, during the off season. There they meet Arlene and Tom Grayson, who lavish attention on the family and convince Joe to go into the hotel business with them. When Peter, an army acquaintance of Joe's, appears, Evie is smitten by his charm and attention. Her budding interest in romance, while protectively discouraged by her parents, is actually encouraged by Arlene, who helps Evie develop a sense of style. Evie enjoys her outings with Peter and interprets her mother's insinuating presence as protective, when in reality Bev is having an affair with the younger man. Joe's jealous distrust of his wife, established while he was at war in Europe, does not obviate the intimacy between Bev and Peter. Evie's closeness to her mother will not permit her to acknowledge the affair even when it becomes impossible to deny. Meanwhile pervading anti-Semitism sours the hotel deal, and the Graysons are forced out of Palm Beach. When Joe insists on one last boat trip, Peter dies during a storm and Joe is accused of murder. It is during the ensuing hearing that Evie learns that adults, even those closest to her, are not always what they seem. Blundell navigates this multidimensional plotline with unique, well-developed characters and insightful dialogue. Yet it is Evie and her rapidly maturing perception of herself and those around her that carry the story. In many ways she becomes the adult in the group, motivated by truth and justice rather than greed or superficial appearances.—Sue Lloyd, Franklin High School Library, Livonia, MI

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School Library Journal : Starred Review. Gr 9 Up—Growing up with her grandmother in Bronxwood, 14-year-old Kendra Williamson is waiting for Renée, her 28-year-old mom, to finish school so they can get their own place. Kendra can't help but feel abandoned when her mother gets her PhD at Princeton and then moves to a studio apartment in Harlem, once again leaving her daughter behind. When her grandmother's restrictive rules, her crush's physical attention, and her friend's self-absorption become overwhelming, Kendra gets her chance to live with her mother and learn whether Renée can be a true parent. Booth has a talent for emotional honesty. When Kendra confronts her mother about her previous choices and learns that, if she could change the past, she would not keep Kendra, the feelings of abandonment and betrayal radiate from the page. The convoluted but redeeming friendship between Kendra and her best friend and aunt, Adonna, resonates with heartbreak and honesty. Teens will appreciate Kendra's internal justification monologues, especially in relation to her Nana; Booth balances that self-examination with street fights to further engage her audience. Adults act as fully realized characters, serving as disciplinarians and mentors, not moralizing preachers. Kendra's quick acquiescence to anal sex seems to be too fast, though this and all other sex scenes are neither graphic nor gratuitous. From Bronx blocks to Harlem hangouts, Booth delivers dynamic characters and an engaging story.—Chris Shoemaker, New York Public Library

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Publishers Weekly : For best friends Chris and Win, nothing could be more gratifying than a two-month-long cross-country bike trip following high school graduation. But when Win suddenly disappears somewhere in Montana, and Chris, the narrator, returns home alone to Virginia with only a hunch where his friend might be, Chris's once-firm grasp on reality slowly begins to weaken—especially when Win's overprotective, blowhard father launches an FBI investigation to track down his son. This debut novel transcends the run-of-the-mill alienated-teens-on-a-road-trip plot. While the boys meet interesting people and discover fascinating and gorgeously lonesome parts of the country, they also evolve in ways neither thought possible. Endowing both boys with a heavy dose of idealism, responsibility and self-preservation, Bradbury makes their growth feel genuine and even profound. Chris and readers are equally in the dark about Win's disappearance, making the mystery that much more exciting. Ages 12–up. (May)

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School Library Journal : Gr 8 Up—Best friends Chris and Win head out on a West Virginia to Washington State bicycle adventure after high school graduation, at the end of which Win disappears. Alternating chapters flash back to details of the trip, then forward to a private investigation instigated by Win's powerful father to uncover why his son told lies to Chris about an uncle in Seattle who doesn't exist, among other things. Little by little, Win's rich, domineering, and neglectful parents come more into focus, and it becomes evident that the teen needed to escape their iron rule. Win's father is sure Chris is keeping his son's whereabouts a secret. When Chris does figure out where his friend is hiding, everything comes together, as Win deflects his controlling father and sets out to make a life of his own. Chris is a well-drawn character, and readers will care about him. Win is naturally a puzzle-angry, and fighting to become himself. The story moves quickly and will easily draw in readers. Though appearing to be a mystery, it is actually a cross-country personal quest, built on vignettes of realistic encounters along the way, like Ellen Wittlinger's Zigzag (S & S, 2003).—Diane P. Tuccillo, Fort Collins Regional Library District, CO

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Publishers Weekly : Starred Review. In this impressive debut novel, the problem (transvestitism) is so nimbly woven into the narrative that it will barely surprise readers. After a successful stay at a rehab facility, 17-year-old Johnny, a recovering alcoholic, is sent by his mother to live with her late husband's brother, Sam. There he begins a relationship with fellow prep-school student Maria; they bond over music and over their outcast status (classmates falsely assume Johnny is gay and taunt him). Johnny harbors a throwback fascination with Debbie Harry (I imagined her as a cross between Jean Seberg from Breathless and the St. Pauli Girl. I wanted that voice to sing to me forever), and Maria nurtures it, even when it folds into a desire to look like Harry—tough and beautiful. It's Maria who encourages him to perform, dressed as Harry, in a drag contest. Meanwhile Johnny's relationship with his uncle provides some of the most touching scenes: through Sam, Johnny comes to know his late father not as a withdrawn, road-weary businessman but as someone more surprising (and more like him). Although the novel can feel plot-heavy, the brisk pace and the strong-willed, empathetic narrator will keep readers fully engaged. Ages 14–up. (May)

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School Library Journal : Gr 8 Up—In 1990s Tampa, a week after Johnny's 13th birthday, his father dies in a horrible auto accident, his mother shuts down, and the boy is left to cope for himself. While somehow managing to maintain his grades and pay the bills, he also takes up the goth lifestyle and begins drinking so heavily that by 16 he ends up in a hospital from an accidental overdose. After a stint in rehab where he first hears and falls in love with singer Debbie Harry, Johnny is shipped off to live with his paternal uncle in South Carolina. Bullies at Langley Prep taunt him because they think he is gay, but with his supportive new girlfriend, Maria, and understanding Uncle Sam, Johnny finally realizes that he has more than a fixation on the performer. He wants to sing and dress like her. Maria encourages him to enter a competition as Debbie Harry at a drag club in Atlanta, and his uncle reveals surprising details about his father. With such a problem-heavy novel, at times the book comes close to overpowering the real "problem"—Johnny's transvestism. Still, having a straight, cross-dressing protagonist is groundbreaking YA fiction.—Betty S. Evans, Missouri State University, Springfield

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School Library Journal : Gr 8 Up—Too stubborn to let go of the troubled mill that has supported her community for generations, Charlotte Miller takes over after her father's death, fighting impending disaster with bargains with a mysterious Jack Spinner that eventually threaten her infant son. Set in a rural valley in the late 1700s, this reworking of the "Rumplestiltskin" story includes ghosts, witchcraft, elements of Georgian society, and much earlier folk magic in the guise of a novel of manners. The leisurely paced narrative gathers steam as it becomes clear that the family and the mill have not simply had a long run of bad luck, but are seriously cursed. Readers need not be familiar with the folktale to see where Charlotte's efforts to save her mill are headed. Though their roles in the narrative are clear, secondary characters are distinctive: foppish Uncle Wheeler is more than a stereotyped villain, and Charlotte's eventual husband is an admirable romantic lead with unsuspected talents. A rich opening to Jane Austen's world for teens.—Kathleen Isaacs, Towson University, MD

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Publishers Weekly : Starred Review. The old saying Money can't buy happiness proves true for high school senior Indigo Skye after she receives a $2.5 million tip from a handsome stranger at the suburban Seattle restaurant where she is a part-time waitress. Before long, the pressure is on from friends and family to spend (or not spend) her money a certain way. Although the lesson of this rags-to-riches tale is evident from the beginning, Caletti (Honey, Baby, Sweetheart) builds characters with so much depth that readers will be invested in her story. Indigo's ability to recognize and appreciate what makes other people tick makes her an unusually compelling narrator, even when her values get blown off course. The rest of the cast, all of whom harbor conflicts and aspirations of their own, radiate personality, especially the crew of customers who regularly patronize Indigo's restaurant (they include a man accused of murdering his wife, a heavily tattooed factory worker and a Native American poet with a chemical imbalance). Working from a premise that strains credibility, Caletti spins a network of relationships that feels real and enriching. Ages 12-up. (Apr.)

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School Library Journal : Gr 9 Up—Indigo Skye, an average high school senior, works part-time as a waitress at a small diner, where she gets to know and love a group of quirky "Irregulars" who frequent the place. She leads a happy but ordinary life until the day a customer, in return for a small kindness, leaves her a $2.5 million tip. This story follows Indigo's struggle to remain true to herself and to fight all the negative side effects of instant wealth. Right from the beginning, Caletti is able to distinguish her extensive cast of characters by relating their memorable and endearing eccentricities. Indigo, especially, is a multilayered and complicated protagonist. Although the premise seems a bit far-fetched, the characters' actions and dialogue keep this story real. Humor is sprinkled in with the more serious, philosophical questions and Indigo's emotions are expertly conveyed. While the theme of money as a potential corrupter is effective, it is stated outright too frequently instead of allowing readers to draw their own conclusions. Filled with rich characters and hilarious interactions mixed with Indigo's astute perceptions of conformity and frivolous wealth, this book encourages thought and examination of what is truly important in life.—Jessie Spalding, Queen Creek Branch Library, AZ

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Publishers Weekly : Starred Review. In a land of seven kingdoms, people with special talents, called Gracelings, are identified by their eyes—Katsa's are green and blue, one of each—although she's eight before her specific Grace is identified as a talent for killing. (While in the court of her uncle, King Randa, she swiped at a man attempting to grope her and struck him dead.) By 18 she's King Randa's henchwoman, dispatched to knock heads and lop off appendages when subjects disobey, but she hates the job. As an antidote, she leads a secret council whose members work against corrupt power, and in this role, while rescuing a kidnapped royal, she meets the silver-and-gold–eyed Po, the Graced seventh son of the Lienid king. That these two are destined to be lovers is obvious, though beautiful, defiant Katsa convincingly claims no man will control her. Their exquisitely drawn romance (the sex is offstage) will slake the thirst of Twilight fans, but one measure of this novel's achievements lies in its broad appeal. Tamora Pierce fans will embrace the take-charge heroine; there's also enough political intrigue to recommend it to readers of Megan Whalen Turner's Attolia trilogy. And while adult readers, too, will enjoy the author's originality, the writing is perfectly pitched at teens struggling to put their own talents to good use. With this riveting debut, Cashore has set the bar exceedingly high. Ages 14–up. (Oct.)

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School Library Journal : Starred Review. Gr 8 Up—In this debut fantasy novel, Cashore treats readers to compelling and eminently likable characters and a story that draws them in from the first paragraph. In Katsa's world, the "Graced," those gifted in a particular way, are marked by eyes that are different colors. Katsa's Grace is that she is a gifted fighter, and, as such, she is virtually invincible. She is in the service of her tyrannical uncle, king of one of the seven kingdoms, and she is forced to torture people for infractions against him. She has secretly formed the Council, which acts in the service of justice and fairness for those who have been accused and abused. Readers meet her as she is rescuing the father of the Lienid king, who has been abducted. The reasons for his capture are part of a tightening plot that Katsa unravels and resolves, with the help of Prince Po, the captive's grandson. He has his own particular Grace, and he becomes Katsa's lover and partner in what becomes a mortally dangerous mission. Cashore's style is exemplary: while each detail helps to paint a picture, the description is always in the service of the story, always helping readers to a greater understanding of what is happening and why. This is gorgeous storytelling: exciting, stirring, and accessible. Fantasy and romance readers will be thrilled.—Sue Giffard, Ethical Culture Fieldston School, New York City

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Publishers Weekly : Starred Review. SignatureReviewed by Megan Whalen TurnerIf there really are only seven original plots in the world, it's odd that boy meets girl is always mentioned, and society goes bad and attacks the good guy never is. Yet we have Fahrenheit 451, The Giver, The House of the Scorpion—and now, following a long tradition of Brave New Worlds, The Hunger Games. Collins hasn't tied her future to a specific date, or weighted it down with too much finger wagging. Rather less 1984 and rather more Death Race 2000, hers is a gripping story set in a postapocalyptic world where a replacement for the United States demands a tribute from each of its territories: two children to be used as gladiators in a televised fight to the death.Katniss, from what was once Appalachia, offers to take the place of her sister in the Hunger Games, but after this ultimate sacrifice, she is entirely focused on survival at any cost. It is her teammate, Peeta, who recognizes the importance of holding on to one's humanity in such inhuman circumstances. It's a credit to Collins's skill at characterization that Katniss, like a new Theseus, is cold, calculating and still likable. She has the attributes to be a winner, where Peeta has the grace to be a good loser.It's no accident that these games are presented as pop culture. Every generation projects its fear: runaway science, communism, overpopulation, nuclear wars and, now, reality TV. The State of Panem—which needs to keep its tributaries subdued and its citizens complacent—may have created the Games, but mindless television is the real danger, the means by which society pacifies its citizens and punishes those who fail to conform. Will its connection to reality TV, ubiquitous today, date the book? It might, but for now, it makes this the right book at the right time. What happens if we choose entertainment over humanity? In Collins's world, we'll be obsessed with grooming, we'll talk funny, and all our sentences will end with the same rise as questions. When Katniss is sent to stylists to be made more telegenic before she competes, she stands naked in front of them, strangely unembarrassed. They're so unlike people that I'm no more self-conscious than if a trio of oddly colored birds were pecking around my feet, she thinks. In order not to hate these creatures who are sending her to her death, she imagines them as pets. It isn't just the contestants who risk the loss of their humanity. It is all who watch.Katniss struggles to win not only the Games but the inherent contest for audience approval. Because this is the first book in a series, not everything is resolved, and what is left unanswered is the central question. Has she sacrificed too much? We know what she has given up to survive, but not whether the price was too high. Readers will wait eagerly to learn more.Megan Whalen Turner is the author of the Newbery Honor book The Thief and its sequels, The Queen of Attolia and The King of Attolia. The next book in the series will be published by Greenwillow in 2010.

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School Library Journal : Gr 7 Up?In a not-too-distant future, the United States of America has collapsed, weakened by drought, fire, famine, and war, to be replaced by Panem, a country divided into the Capitol and 12 districts. Each year, two young representatives from each district are selected by lottery to participate in The Hunger Games. Part entertainment, part brutal intimidation of the subjugated districts, the televised games are broadcasted throughout Panem as the 24 participants are forced to eliminate their competitors, literally, with all citizens required to watch. When 16-year-old Katniss?s young sister, Prim, is selected as the mining district?s female representative, Katniss volunteers to take her place. She and her male counterpart, Peeta, the son of the town baker who seems to have all the fighting skills of a lump of bread dough, will be pitted against bigger, stronger representatives who have trained for this their whole lives. Collins?s characters are completely realistic and sympathetic as they form alliances and friendships in the face of overwhelming odds; the plot is tense, dramatic, and engrossing. This book will definitely resonate with the generation raised on reality shows like ?Survivor? and ?American Gladiator.? Book one of a planned trilogy.Jane Henriksen Baird, Anchorage Public Library, AK

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Publishers Weekly : Starred Review. Connor (Dead on Town Line) treats the subject of child neglect with honesty and grace in this poignant story. Addie's stepfather, Dwight, has always been the responsible one in the family. But after he and her mother divorce, and he gets custody of Addie's two younger half-sisters, it's up to Addie, a sixth-grader, to keep order in the tiny trailer that Dwight has found for Addie and her mother. While her mother disappears for days at a time with her new boyfriend, Addie cultivates friendships with people she meets at a neighboring convenience store, but the affection she receives from others doesn't compensate for the absence of love in her home. Addie works hard to fill the void her volatile mother creates, and Addie's attempts to make things normal result in some of the most moving scenes: she keeps the cabinets full by putting empty boxes of food on the shelf for show. In such moments Connor shows both the extent to which Addie has been abandoned and just how resilient and resourceful she is. Characters as persuasively optimistic as Addie are rare, and readers will gravitate to her. Ages 10-up. (Feb.)

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School Library Journal : Starred Review. Gr 6–8—A story centered around loss, heartbreak, abandonment, and new beginnings. Although Dwight is no longer Addie's stepfather due to his divorce from her mother, the two still share an unbreakable bond. Dwight secures a trailer for Addie and her mother in an unremarkable part of Schenectady, NY. Mommers sleeps during the day and leaves Addie at night to pursue "business" interests with her new boyfriend. Meanwhile, Dwight has moved to Lake George with Addie's half sisters, for whom he was awarded custody. Despite the many upheavals in her young life, Addie adjusts as well as she can. She participates in the school orchestra, despite the fact that her dyslexia makes learning the music challenging. Her mother's antipathy toward Dwight doesn't prevent her from allowing Addie to visit him and her sisters during school breaks, during which she gets a taste of normalcy. However, the woman's irresponsibility, inability to tell the truth, and frequent absences, often for days at a time, put Addie in danger. Connor has created a winning and positive father-figure/daughter relationship between Dwight and Addie. She introduces serious topics such as cancer, neglect, and learning disabilities without sensationalizing or trivializing the subjects. Although Mommers is clearly an unfit parent, Connor does show believable instances of her love for her children, juxtaposed with scenes of embarrassingly childish behavior and cutting remarks.—Jennifer Schultz, Fauquier County Public Library, Warrenton, VA

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School Library Journal : Gr 9 Up—No matter where he lives, 16-year-old Danny Lopez is an outsider. At his private high school in wealthy northern San Diego County, "nobody paid him any attention…because he was Mexican." It didn't matter that he was half white. But when he visits the Mexican side of his family in National City, just a dozen miles from the border, Danny feels "Albino almost" and ashamed. He doesn't even speak Spanish. Rather than learning to blend in, Danny disengages from both worlds, rarely speaking and running his mind in circles with questions about how he might have kept his absent father from leaving the family. He decides to spend the summer in National City, hoping to get closer to his dad's roots and learn how to be "real" and stop feeling numb. Instead, he finds that, by the end of the summer, he has filled the void through unexpected friendship and love. In this first-rate exploration of self-identity, Danny's growth as a baseball pitcher becomes a metaphor for the conflicts he must overcome due to his biracial heritage. Dialogue written in a coarse street vernacular and interwoven with Spanish is awkward to read at first—like Danny, readers are made to feel like outsiders among the hard-edged kids of National City. But as the characters develop, their language starts to feel familiar and warm, and their subtle tenderness becomes more apparent. A mostly linear plot (with occasional flashbacks), plenty of sports action, and short chapters make this book a great pick for reluctant or less-experienced readers.—Madeline Walton-Hadlock, San Jose Public Library, CA

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Publishers Weekly : Starred Review. SF author Doctorow (Down and Out in the Magic Kingdom), coeditor of the influential blog BoingBoing, tells a believable and frightening tale of a near-future San Francisco, victimized first by terrorists and then by an out-of-control Department of Homeland Security determined to turn the city into a virtual police state. Innocent of any wrongdoing beyond cutting school, high school student and techno-geek Marcus is arrested, illegally interrogated and humiliated by overzealous DHS personnel who also disappear his best friend, Darryl, along with hundreds of other U.S. citizens. Moved in part by a desire for revenge and in part by a passionate belief in the Bill of Rights, Marcus vows to drive the DHS out of his beloved city. Using the Internet and other technologies, he plays a dangerous game of cat and mouse, disrupting the government's attempts to create virtually universal electronic surveillance while recruiting other young people to his guerilla movement. Filled with sharp dialogue and detailed descriptions of how to counteract gait-recognition cameras, arphids (radio frequency ID tags), wireless Internet tracers and other surveillance devices, this work makes its admittedly didactic point within a tautly crafted fictional framework. Ages 13-up. (May)

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School Library Journal : Starred Review. Gr 10 Up—When he ditches school one Friday morning, 17-year-old Marcus is hoping to get a head start on the Harajuku Fun Madness clue. But after a terrorist attack in San Francisco, he and his friends are swept up in the extralegal world of the Department of Homeland Security. After questioning that includes physical torture and psychological stress, Marcus is released, a marked man in a much darker San Francisco: a city of constant surveillance and civil-liberty forfeiture. Encouraging hackers from around the city, Marcus fights against the system while falling for one hacker in particular. Doctorow rapidly confronts issues, from civil liberties to cryptology to social justice. While his political bias is obvious, he does try to depict opposing viewpoints fairly. Those who have embraced the legislative developments since 9/11 may be horrified by his harsh take on Homeland Security, Guantánamo Bay, and the PATRIOT Act. Politics aside, Marcus is a wonderfully developed character: hyperaware of his surroundings, trying to redress past wrongs, and rebelling against authority. Teen espionage fans will appreciate the numerous gadgets made from everyday materials. One afterword by a noted cryptologist and another from an infamous hacker further reflect Doctorow's principles, and a bibliography has resources for teens interested in intellectual freedom, information access, and technology enhancements. Curious readers will also be able to visit BoingBoing, an eclectic group blog that Doctorow coedits. Raising pertinent questions and fostering discussion, this techno-thriller is an outstanding first purchase.—Chris Shoemaker, New York Public Library

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Publishers Weekly: Starred Review. When Fergus McCann, 18, crosses the border from Northern Ireland into the Irish Republic to steal peat for his uncle to sell as fuel, what he digs up is a small body, an obvious victim of violence. Are the Troubles now claiming children? he wonders. But nothing is as it seems in the late Dowd's (The London Eye Mystery) rich work, set in 1981 and exploring sacrifices made in the name of family and freedom. Archeologists suspect the body is ancient, and they overrun the hillside of Fergus's discovery. Haunted by his find, Fergus learns its story in vivid dreams. Daylight provides no respite. His brother, an imprisoned IRA member, has joined Bobby Sands's hunger strike. His father salutes; his mother grieves. Three exams away from earning entrance to medical school, Fergus doesn't understand the strikers' mission, but his brother is resolute: A coffin's a mighty statement, Ferg. Experiencing first love with the lead archeologist's daughter, Fergus is torn when he's blackmailed into being a courier by his brother's friend. Dowd raises questions about moral choices within a compelling plot that is full of surprises, powerfully bringing home the impact of political conflict on innocent bystanders. Ages 12–up. (Sept.)

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School Library Journal : Starred Review. Gr 9 Up—It is 1981, and 18-year-old Fergus lives on the border between Northern Ireland and the south. His older brother, Joe, a member of the Provisional IRA, is jailed at Long Kesh and joins a hunger strike. The family is traumatized, and Fergus does his best to comfort his mother and to convince Joe that his "sacrifice" for the cause is not worth it. Fergus has been pressured (blackmailed) to smuggle packages for the IRA, but wants nothing more than to leave Ireland and study to become a doctor. His life becomes even more complicated when he and his uncle discover the body of a young girl while pilfering peat. It turns out to be 2000 years old. Thus begins a double narrative that involves a love story and a discussion of destiny and self-sacrifice. Fergus's story includes his struggle to understand his brother's actions and his growing love for the daughter of the archaeologist called in to investigate the Iron Age discovery. Interspersed is the story of Mel, the bog child, who makes the ultimate sacrifice to unite her people, and who finds love at the end of her life. The two narratives work beautifully together. The love story between Fergus and Cora is depicted with tenderness, and their adolescent sexuality is sensitively portrayed. Readers will come away with a strong sense of the time periods (especially of the "Troubles") through dialogue and action. This compelling read is lyrically written and contains authentic dialogue and challenging and involving moral issues. It's a first, and a must-have purchase.—Jennifer Ralston, Harford County Public Library, Belcamp, MD

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Publishers Weekly: Starred Review. A 12-year-old Londoner with something like Asperger's syndrome narrates this page-turner, which grabs readers from the beginning and doesn't let go. As Ted and his older sister Katrina watch, their visiting cousin Salim boards a pod for a ride on the London Eye, a towering tourist attraction with a 360-degree view of the city—but unlike his fellow passengers, Salim never comes down. He has vanished. At the outset Ted explains that he has cracked the case: Having a funny brain that runs on a different operating system from other people's helped me to figure out what happened. The tension lies in the implicit challenge to solve the mystery ahead of Ted, who turns his intense observational powers on the known facts, transforming his unnamed disability into an investigative tool while the adults' emotions engulf them. Dowd ratchets up the stakes repeatedly: is a boy in the morgue Salim? Has he drowned? Been kidnapped? Katrina and Ted work together to solve the puzzle, developing new respect for each other. The author wryly locates the humor as Ted wrangles with his symptoms (learning to lie represents progress) but also allows Ted an ample measure of grace. Comparisons to The Curious Incident of the Dog in the Night-time are inevitable—this release was delayed when Mark Haddon's book (from the same publisher) became a bestseller—but Dowd makes clearer overtures to younger readers. Just as impressive as Dowd's recent debut, A Swift Pure Cry, and fresh cause to mourn her premature death this year. Ages 8-12. (Feb.)

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School Library Journal : Starred Review. Gr 5–8—Ted and Kat lose their cousin Salim at the London Eye sightseeing attraction, "the largest observation wheel ever built." Given a free ticket by a stranger, Salim enters the ride, but he never emerges. Guilty about their part in the bungled outing, the siblings trace scraps of information that illuminate the boy's disappearance. Ted, who is something of an enigma himself, narrates the story. He has a neurological cross wiring that results in an encyclopedic brain and a literal view of the world. He finds it hard to read motivations and emotions, but excels at clue tracing and deduction. Kat, his older sister, deplores his odd behaviors but relies on his analytic brain while she does the legwork. The result is a dense mystery tied together with fully fleshed out characters and a unique narrator. Good mysteries for kids are rare, and this offering does the genre proud. London Eye is the best sort, throwing out scads of clues for discerning readers to solve the mystery themselves. Add to that Ted's literal translation of our world, his distanced view of an alien landscape of human interactions, and the ways he gains a better understanding of that world through the course of the novel, and the story is even more noteworthy. Suggest this as a read-alike to fans of Blue Balliett's Chasing Vermeer (Scholastic, 2004) or Lauren Tarshis's Emma-Jean Lazarus Fell Out of a Tree (Dial, 2007).—Caitlin Augusta, The Darien Library, CT

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Publishers Weekly : Traveling into territory more commonly associated with Isaac Bashevis Singer, Newbery Medalist Fleischman (The Whipping Boy) draws attention to the especially cruel treatment of Jewish children during the Holocaust. The Great Freddie is a decorated GI, an orphan who has stayed in Europe and, by 1948, has found a toehold as a ventriloquist. And then Avrom Amos Poliakov shows up—rather, takes over. Avrom Amos is a dybbuk, a wandering soul or ghost, and, by demonstrating how he might speak for Freddie's wooden dummy, Avrom Amos convinces Freddie to let him lodge within Freddie. The dybbuk makes good on his promise, and Freddie's act becomes the toast of Paris. But Avrom Amos has his own agenda, as Freddie knows. He wants to track down the infamous SS colonel who not only killed him but also tortured children, including his sister, and before long, the dybbuk co-opts Freddie's act and his interviews to spread the word about the SS colonel. The dybbuk's voice will shock some readers; he speaks in embittered, Yiddish-inflected English that drives home his point. Here is Avrom Amos giving Freddie a history lesson: You didn't hear [that Hitler] told his Nazi meshuggeners, those lunatics, 'Soldiers of Germany, have some fun and go murder a million and a half Jewish kids? All ages! Babies, fine. Girls with ribbons in their hair, why not?' Fleischman inserts horrific factual details of Nazi brutality, and yet his message about bearing witness may be submerged beneath the sensational story line. Ages 9-14. (Sept.)

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School Library Journal : Starred Review. Gr 6–9—In 1948 Europe, former American bomber pilot Freddie Birch is making a precarious living as a ventriloquist when he encounters young Avrom Amos. The boy is a dybbuk, the spirit of a Jewish youth murdered by the Nazis. He was one of the resistance fighters who helped Freddie escape from a POW camp. The ghost has "unfinished business" with the SS colonel who killed him, and he needs a living body—Freddie's—to accomplish it. With Avrom's spirit sharing his space, The Great Freddie finds that his act improves. The dybbuk's snappy commentary is wildly popular with audiences, and the two begin to get bookings in fancier clubs. However, the spirit refuses to work on shabbes, and he insists that Freddie stand in for him at his bar mitzvah ceremony. Then Avrom begins to change the script, inserting information about his murder and the man who killed him. Since he is incorporeal, his character is revealed almost exclusively through dialogue—a remarkable juxtaposition of sharp, sometimes bitter humor with graphic descriptions of appalling wartime atrocities. Fleischman explores the sensitive topic of anti-Semitism—not just the overt evil of the Nazi system, but also the casual, pervasive bigotry of the period. Even Freddie has to deal with his own deep-seated prejudice. There is a strong emphasis on friendship and justice, and an ultimate affirmation of life and hope. This exciting and thought-provoking book belongs in every collection.—Elaine E. Knight, Lincoln Elementary Schools, IL

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Publishers Weekly : Inspired by the experiences of her great-aunt, Fletcher (Tallulah Falls) imagines two years in the life of a scrappy girl from a working-class community in Chicago during WWII. Just 15 and saddled with the responsibility of supporting her ailing mother and younger sister, Ruby Jacinski quits school to work in a meatpacking factory but is soon dazzled by the prospect of earning big money as a taxi dancer (professional dance partner)—an idea she picks up from her neighborhood crush, mobster wannabe Paulie. Fletcher sustains the narrative with the ongoing tension between Ruby's buttoned-up family persona and her desire for a real romance, the glamour of dressing up and dancing to jazz, and baiting fish (customers) for dinner dates and money. Ruby's ability to skate away from an entanglement with an older, very crass client, a disillusioning relationship with Paulie and a brush with the mob can strain credibility; however, the depiction of Chicago nightlife in the '40s and Ruby's deft observations (the look on his face, like the music itself had put on a dress and come up to him and said hello) add depth and complexity. Ages 14–up. (Apr.)

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School Library Journal : Gr 9 Up—In 1941, Ruby Jacinski, 15, quits school and works at a meatpacking plant to support her ailing mother and her sister. Her life changes dramatically when Paulie, a handsome young man with a terrible reputation, takes an interest in her and encourages her to pursue a job at the Starlight Dance Academy. There, she can earn a lot of money, get her family out of debt, and live a more exciting life by dancing with lonely men. For someone who loves to dance, the job is a dream come true, but Ruby soon learns that it comes with a price. She lies to her mother and tries to avoid the constant hustle and manipulation from both the customers and her coworkers. As she continues to turn to Paulie for protection and advice, she gets caught up in the seedier side of Chicago's poor Back of the Yards district. This is a unique look at U.S. social history. Ruby is tough, strong, and determined, but maintains the innocent and idealistic dreams of adolescence, thus endearing her to readers. The grittier side of Chicago nightlife and the harsh pressures on wartime youth to mature quickly are well delineated. This intriguing story is well paced and well researched.—Kimberly Monaghan, formerly at Vernon Area Public Library, IL

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Publishers Weekly : Starred Review. A lavish middle-grade novel, Gaiman's first since Coraline, this gothic fantasy almost lives up to its extravagant advance billing. The opening is enthralling: There was a hand in the darkness, and it held a knife. Evading the murderer who kills the rest of his family, a child roughly 18 months old climbs out of his crib, bumps his bottom down a steep stairway, walks out the open door and crosses the street into the cemetery opposite, where ghosts take him in. What mystery/horror/suspense reader could stop here, especially with Gaiman's talent for storytelling? The author riffs on the Jungle Book, folklore, nursery rhymes and history; he tosses in werewolves and hints at vampires—and he makes these figures seem like metaphors for transitions in childhood and youth. As the boy, called Nobody or Bod, grows up, the killer still stalking him, there are slack moments and some repetition—not enough to spoil a reader's pleasure, but noticeable all the same. When the chilling moments do come, they are as genuinely frightening as only Gaiman can make them, and redeem any shortcomings. Ages 10–up. (Oct.)

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School Library Journal : Gr 5–8—Somewhere in contemporary Britain, "the man Jack" uses his razor-sharp knife to murder a family, but the youngest, a toddler, slips away. The boy ends up in a graveyard, where the ghostly inhabitants adopt him to keep him safe. Nobody Owens, so named because he "looks like nobody but himself," grows up among a multigenerational cast of characters from different historical periods that includes matronly Mistress Owens; ancient Roman Caius Pompeius; an opinionated young witch; a melodramatic hack poet; and Bod's beloved mentor and guardian, Silas, who is neither living nor dead and has secrets of his own. As he grows up, Bod has a series of adventures, both in and out of the graveyard, and the threat of the man Jack who continues to hunt for him is ever present. Bod's love for his graveyard family and vice versa provide the emotional center, amid suspense, spot-on humor, and delightful scene-setting. The child Bod's behavior is occasionally too precocious to be believed, and a series of puns on the name Jack render the villain a bit less frightening than he should be, though only momentarily. Aside from these small flaws, however, Gaiman has created a rich, surprising, and sometimes disturbing tale of dreams, ghouls, murderers, trickery, and family.—Megan Honig, New York Public Library

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School Library Journal : Gr 7–10—As the first embers of the French Revolution begin to burn, Yann Margoza, a 14-year-old voice thrower and mind reader, watches his simple life as a magician's assistant disappear before his eyes. During one fateful midnight performance at the chateau of an overindulgent, debt-ridden marquis, a string of irreversible events unfurls. Jolted from the only world he's known, Yann becomes inextricably intertwined with the marquis's 12-year-old daughter and lecherous, treacherous Count Kalliovski. Yann struggles to make the right choices while coming to terms with his origins and unique abilities in order to save those he loves. Gardner deftly plays out the same brand of intrigue, romance, and murky intentions beautifully rendered in recent period magician films, The Prestige and The Illusionist. Readers will root for Yann and Sido as they struggle toward adulthood amid the political and social turmoil surrounding and sometimes endangering them. At the book's end, Gardner provides further historical background on late-18th-century France, though most readers will find themselves wishing simply for a sequel to continue this engrossing tale.—Jill Heritage Maza, Greenwich High School, CT

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Publishers Weekly : When a family fight breaks out in the front yard, Abby Savage is next door with a friend who can't avert his gaze. He has that look in his eyes that explains exactly why Jerry Springer has been on the air for so long, Abby says, with a wry detachment that characterizes her determination to break the Savage family pattern. Her mother is pregnant, (probably) by Steve the Guitar Player, who has also dated Abby's sisters, one of whom is also pregnant, also possibly by Steve. Abby's refuge is best friend and neighbor Cody, a gay teen in denial. She is trying mightily to not fall in love with Jackson, Cody's older brother, the other possible father of her sister's baby. A big soap opera fan, Abby views her life comically through a lens that includes amnesia, babies switched at birth and True Love. The humor bubbles consistently; note that the unsavory adults, underage drinking and harassment of gays (Cody is pelted with butt plugs at the homecoming dance) push this first novel to an older readership. Ages 12–up. (May)

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School Library Journal : Gr 8 Up—Fifteen-year-old Abby Savage has always thought of herself as the "normal" one in a household that more closely resembles a soap-opera cast than a real family. It's the summer before sophomore year, and, with her best friend Cody's help, Abby is determined to follow her One True Love Plan (formulated to avoid the mistakes of her sisters Shelby and Kait). Then Mom announces that she is pregnant by her new husband, Steve, a younger man who also happens to be the father of Kait's unborn child. Things become even more complicated when Cody's older brother, Jackson, returns home. Last spring, Abby thought she was falling in love with him, but she now distances herself because she's obsessed by the possibility that he could be the father of Kait's child (Kait dated Jackson before Steve). This somewhat farcical account of the Savage women is told in a witty, toned-down Meg Cabot style. The novel moves breathlessly from one family drama to the next—often in front of the neighbors—and touches on some heavy topics along the way, most notably Cody's attempt to come out of the closet. While there's no fairy-tale ending, the story's central romantic conflict is tied up a bit too tidily. Still, the likable main character and fast-paced storytelling will appeal to fans of Aimee Friedman's The Year My Sister Got Lucky (Scholastic, 2008) and Meg Cabot's Pants on Fire (HarperCollins, 2007).—Amy S. Pattee, Simmons College, Boston

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School Library Journal : Gr 5–8—As the last born in a family of nine siblings, the lass is a source of great displeasure to her mother. Angry that she had been unlucky enough to produce a girl, the woman denies her a name. Nevertheless, the child finds happiness in a close relationship with her older brother. This closeness is broken when an enchanted polar bear enters her home and demands that she spend a year and a day with him in return for her family attaining riches and good fortune. This exciting tale built on the foundation of an old Nordic tale is a work of great beauty. George demonstrates her mastery of both Norwegian folklore and storytelling by taking an old yet familiar story and making it captivating from start to finish. As the nameless lass searches for the answers to the riddles that surround her and her loved ones, readers will find themselves engaged in the emotions and adventures that she faces. They will be taken on wild rides across the countryside on the back of a polar bear, experience life in an enchanted ice castle, and fly on the winds of the far corners of the Earth, as the girl moves swiftly toward her inevitable destiny.—Caryl Soriano, New York Public Library

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School Library Journal : Gr 8 Up—This gripping tale of revenge goes beyond the stereotypical "outsiders get even" story. Meghan and Aimee are on opposite ends of the outcast spectrum. Meghan is extremely overweight, and it is more than hinted at that she has a binge-eating disorder. Aimee, on the other hand, is classic anorexic. Both girls have been hurt by one of the popular girls at school. They join forces to bring Cara down in a stunning bit of public humiliation. Themes of invisibility, familial dysfunction, and fitting in are all explored to some extent. Although the plot moves along at a fairly quick pace and keeps readers engaged, the ultimate conclusion is unsettling, to say the least. Aimee and Meghan become friends, but remain invisible to the other students at school. Cara rewrites what happened in her own head to remove any guilt from herself, and there is no resolution at all to a confrontation between the English teacher and the basketball coach, which looked to be a promising plot thread concerning sports versus academics. Neither girl receives any help with her eating disorder, even though Meghan's mother appears to be loving and Aimee's reaches out to her. Despite the loose ends, the story will make readers think about the various issues touched upon, and it is difficult to put down.—Robin Henry, Griffin Middle School, Frisco, TX

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Publishers Weekly : Green melds elements from his Looking for Alaska and An Abundance of Katherines— the impossibly sophisticated but unattainable girl, and a life-altering road trip—for another teen-pleasing read. Weeks before graduating from their Orlando-area high school, Quentin Jacobsen's childhood best friend, Margo, reappears in his life, specifically at his window, commanding him to take her on an all-night, score-settling spree. Quentin has loved Margo from not so afar (she lives next door), years after she ditched him for a cooler crowd. Just as suddenly, she disappears again, and the plot's considerable tension derives from Quentin's mission to find out if she's run away or committed suicide. Margo's parents, inured to her extreme behavior, wash their hands, but Quentin thinks she's left him a clue in a highlighted volume of Leaves of Grass. Q's sidekick, Radar, editor of a Wikipedia-like Web site, provides the most intelligent thinking and fuels many hilarious exchanges with Q. The title, which refers to unbuilt subdivisions and copyright trap towns that appear on maps but don't exist, unintentionally underscores the novel's weakness: both milquetoast Q and self-absorbed Margo are types, not fully dimensional characters. Readers who can get past that will enjoy the edgy journey and off-road thinking. Ages 12–up. (Oct.)

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School Library Journal : Starred Review. Gr 9 Up—Quentin Jacobsen, 17, has been in love with his next-door neighbor, Margo Roth Spiegelman, for his entire life. A leader at their Central Florida high school, she has carefully cultivated her badass image. Quentin is one of the smart kids. His parents are therapists and he is, above all things, "goddamned well adjusted." He takes a rare risk when Margo appears at his window in the middle of the night. They drive around righting wrongs via her brilliant, elaborate pranks. Then she runs away (again). He slowly uncovers the depth of her unhappiness and the vast differences between the real and imagined Margo. Florida's heat and homogeneity as depicted here are vivid and awful. Green's prose is astounding—from hilarious, hyperintellectual trash talk and shtick, to complex philosophizing, to devastating observation and truths. He nails it—exactly how a thing feels, looks, affects—page after page. The mystery of Margo—her disappearance and her personhood—is fascinating, cleverly constructed, and profoundly moving. Green builds tension through both the twists of the active plot and the gravitas of the subject. He skirts the stock coming-of-age character arc—Quentin's eventual bravery is not the revelation. Instead, the teen thinks deeper and harder—about the beautiful and terrifying ways we can and cannot know those we love. Less-sophisticated readers may get lost in Quentin's copious transcendental ruminations—give Paper Towns to your sharpest teens.—Johanna Lewis, New York Public Library

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School Library Journal : Starred Review. Gr 9 Up—Since his father came out and his mother took off, Ben Campbell has been in trouble, smoking pot, getting arrested—the usual array of angry bad-boy behavior. In an effort to put him on the right path, his dad and his dad's partner, Edward, decide to move the family from Spokane to Edward's hometown in Montana. Rough Butte, population 463, is full of farmers, ranchers, and Miss Mae, Edward's tough country mama. Ben is out of his element in the extreme, and has a hard time adjusting until he meets Kimberly Johan, a neighbor who steals his heart and makes him want to be a part of Big Sky country. Although the novel wraps up a little too neatly, it is filled with atypical character interactions that make it an excellent read. Ben's anger at his father for destroying their original family and failing to be a "regular" dad is potent and raw, as is his language. His father's fear that Ben is becoming homophobic turns to paranoia and mistrust, and the two nearly part ways permanently. Ben also struggles with the differences between what he sees as child abuse and what most of the Montanans consider simple discipline as he befriends his young neighbor, who is in desperate need of someone's help. And, finally, Ben must conquer the town's teen villain who has an unhealthy obsession with Kimberly and a penchant for arson. It may sound like a lot of plot for one book, and it is, but Harmon makes it work with believable characters, Ben's biting wit, and solid lessons about acceptance and responsibility.—Nora G. Murphy, Los Angeles Academy Middle School

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Publishers Weekly : Starred Review. Hernandez (A House Waiting for Music), an award-winning poet, turns for the first time to fiction with a beautifully executed, frequently brutal coming-of-age story. Marcus, the narrator, stakes out his position from the opening sentence: At the funeral for Oliver's father I daydreamed about killing my own. The 17-year-old is keenly aware of his losses, beginning with the index finger that got severed during a Rollerblading accident and including the departure of his father, who walked out after Marcus finally stopped him from beating up his younger brother, depressive Enrique. He is equally aware of the space these losses create for rage. This is not an easy or comfortable novel to read: Marcus gets wasted frequently, Enrique turns increasingly cruel and few of the characters have viable options. Their suffering is palpable; as Marcus says of his home, Our dad's rage followed us after he left. It trailed behind our footsteps from room to room, invisible. When Marcus and Enrique's mother informs them that she is thinking about letting their father move back in, she galvanizes their anger, and the plan they hatch resolves in an unforeseeably violent, life-altering climax. The author's imagery, sometimes subtle, sometimes searing, invariably hits its mark. Ages 14-up. (Jan.)

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School Library Journal : Gr 9 Up—Suckerpunch is as powerful as its title implies. Marcus is quiet and artistic; his younger brother, Enrique, is a charismatic ladies' man. Both boys have been scarred by their father's constant physical abuse directed at Enrique and witnessed silently by guilt-ridden Marcus. The man left a year earlier, but the boys are far from healed. Enrique turns to fighting and dating and dumping girl after girl, while Marcus gets stoned. Then they get the news that their father may be returning home, and it sends both siblings, along with Enrique's girlfriend, Ashley, and Marcus's friend Oliver on a road trip that will change their lives forever. Using dark, descriptive text and explicit dialogue, Hernandez paints a very realistic portrait of the aftereffects of abuse. Not only does he create memorable and sympathetic characters in Enrique and Marcus, but he also brings life to Oliver, who is dealing with paternal demons of his own, and headstrong but caring Ashley. In the end he does not tie everything up neatly, leaving readers to draw their own conclusions. Older teens looking for gritty urban drama are sure to embrace this gripping, well-written story.—Shari Fesko, Southfield Public Library, MI

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School Library Journal : Gr 9 Up—Rico Fuentes, 15, hasn't had an easy life. He spent part of his childhood in a hospital, his mother blames him for her misery, his loving father is a drunk, and, because of his light Cuban skin, he's hassled by peers. With escalating problems at his 1960s New York City school and his friend Jimmy spiraling dangerously out of control because of drugs, Rico decides to run away, taking Jimmy with him. They head for Wisconsin and Gilberto, who's gone off to college and is living on a hippie farm. There, in the "land of milk and honey," Rico saves Jimmy's life and finds acceptance—by others first and, ultimately, of himself. The protracted narrative is by turns sentimental, humorous, and sad, but Hijuelos creates a memorable character who will resonate with readers wrestling with their own identity issues.—Terri Clark, Smokey Hill Library, Centennial, CO

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Publishers Weekly : Trading demonic possession for vampirism, Jenkins (Repossessed) explores the existential crises of a clan of hemovores, or hemes. In her world, hemes feed on humans or omnis (short for omnivores), but do so with restraint—regular, controlled feedings prevent their animal Thirst from taking over. Cole and a bighearted heme, Sandor, embark on a road trip to train Gordon, a naïve, college-age accident who has recently joined their ranks, and help him adjust to his current state. Cole displays monk-like self-discipline and denial as he models the lonely, endless nightlife of the heme for Gordon. (You're a parasite, not a predator, scolds Cole when Gordon realizes he could take advantage of his victim's entranced state during a feeding. Our lives are built on their backs, and we owe them civility at least.) As they travel, the hemes debate their ability to die, whether they possess souls and the futility of dating; the appearance of a rogue heme provides dramatic tension. Save a few minor female hemes, Jenkins's world is male-dominated, which may turn off some readers (Cole describes subservient omni groupies as young people who read too much Anne Rice). But overall, Jenkins provides a page-turner and a fresh, intriguing view of the vampiric life. Ages 12–up. (June)

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School Library Journal : Gr 9 Up—Jenkins has created a taut and compelling reimagining of the vampire legend, with well-developed characters that transcend horror-novel cliché. When Cole is summoned to the Building in upper Manhattan, he's not sure what to expect, having spent decades away from the place. While other hemovores relax in one of the few safe havens available to their kind, the austere and self-sufficient Cole prefers the freedom of the open road, despite the obvious risks: the difficulty of attaining one's next meal, the necessity of hiding one's true identity, and, of course, a little problem with sunlight. The reason for Cole's presence at the Building soon becomes clear when Gordon, an inadvertently created heme with a bad attitude and a dangerous lack of experience, nearly kills a young woman in an overzealous feed. Heme leader Johnny asks Cole to take Gordon out on the road, where he can be trained in the skills he'll need in his new lifestyle, away from the too-easy comfort of the Building. Success is paramount: it simply isn't prudent to have an uncontrolled blood-drinker on the loose, and should the effort fail, Gordon will have to be disposed of. The plot is suspenseful and well paced, with hints of romance as Cole's worries for Gordon call up dark memories of his own past. A surefire hit for vampire-loving teens.—Meredith Robbins, Jacqueline Kennedy Onassis High School, New York City

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Publishers Weekly : Johnson (13 Little Blue Envelopes) packs her latest with all the elements of a winning novel—a dramatic setting, offbeat characters, witty dialogue—but she leaves out the tension. Scarlett's family operates and lives in a rundown art deco hotel in Manhattan. It is nearly empty when strange, rich Amy checks in for the summer. Claiming to want to write a book about her life, she hires an ambivalent Scarlett as her assistant. But Scarlett's job changes when Amy decides instead to sponsor a production of Hamlet in which Scarlett's brother is acting. Soon Scarlett is clearing a rehearsal space, kissing her brother's co-star—and even helping Amy pull off an elaborate revenge scheme on a actress she thinks once wronged her. Between the play, the revenge, Scarlett's romance, the hotel and family messiness (Scarlett's sister's cancer treatments have drained the family's finances), the book lacks focus. Readers will also find some scenes hard to believe, such as the final face-off between Amy and her foe in which all is neatly resolved. Ages 12–up. (May)

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School Library Journal : Gr 8 Up—Johnson certainly seems to have the formula for good, clean, readable chick-lit down pat, and this title does not disappoint. According to tradition, when the Martin children turn 15, they inherit a suite in the family's small Manhattan hotel and a job: to take care of the rooms and their occupant. On Scarlett's 15th birthday, Amy Amberson sweeps into the suite that Scarlett has just inherited. The woman is demanding and brash, but she does have her charms (and large amounts of cash). In the beginning, Scarlett is overwhelmed, but then her role becomes that of Mrs. Amberson's assistant for her projects, which change on a whim. When Amy decides to help the theater troupe that Scarlett's brother is involved in put on Hamlet, the teen begins a romance with one of the actors. Then everything starts to go awry, and when things get tough, Amy abandons ship, and plucky Scarlett is left to step in and save what needs saving, something that she does with flair. Scarlett's brand of humor is particularly dry and well articulated. This novel blends sibling rivalry and the importance of family, friendship, and romance into a plot that is charming and well delivered.—Emily Garrett Cassady, North Garland High School, Garland, TX

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School Library Journal : Gr 8–10—Alex Ford has always wanted a horse but never expected that his father would win one in a poker game. Turnip is definitely not a dream horse, but he does reciprocate the kindness that Alex shows him by performing to the best of his ability. They become a winning team in Western riding, but Alex has always dreamed of studying dressage. Several fortuitous circumstances help to make this a reality. A woman who is smitten with his father happens to have a dressage horse that she doesn't ride. A stable opens near him with two dressage trainers. He meets a girl, Cleo, who also becomes a dressage student and eventually a friend. The story alternates between Alex and Cleo. Cleo is privileged and rebellious; Alex is talented and self-effacing. He is also gay and has spent his teen years quietly struggling to understand and accept who he is but is concerned that his orientation will be unacceptable to his family and friends. He gradually becomes more confident, and, with the support of those who really care about him, his aspirations and his personal relationships seem full of promise. This is a well-written contemporary story with touches of humor and well-drawn, empathetic characters.—Carol Schene, formerly at Taunton Public Schools, MA

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School Library Journal : Gr 8 Up—Leon Sanders, 17, a self-described geek, craves the attention of perfection-personified Amy Green, who consistently ignores him. Resigned to life on the fringes of his suburban high school, he takes comfort in knowing that another junior scores zero for popularity: Melody Hennon, whose severely burned face has made her an outcast. When Leon tells Melody a bad joke and gets a genuine laugh, he is surprised to find an actual person behind the scars, and soon discovers that she shares his interests and offbeat humor. When Melody confides the details of her childhood accident, he tells her about a humiliating encounter with a bully that left him emotionally scarred. As their friendship turns to romance, Leon worries about the opinions of others, but people are accepting of their relationship. Then Leon finally catches Amy's eye. Faced with a dilemma, he allows himself to be lured away from the devastated Melody, but is soon overwhelmed by the emotional consequences. Leon's self-deprecating, ironic humor keeps an authentic edge running through the story as he explores new relationships and roles, and wrestles with doing the right thing. Melody is a resilient young woman whose experience with Leon helps her develop self-confidence. This is a strong debut novel with a cast of quirky, multidimensional characters struggling with issues of acceptance, sexuality, identity, and self-worth.—Joyce Adams Burner, Hillcrest Library, Prairie Village, KS

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School Library Journal: Gr 4 Up—Hurrying to pick up her brother, Emily and her parents have a tragic accident, and her father dies. After this dark beginning, the story skips forward two years to when the remaining family members are forced to move to an ancestral house in a small town. Rumored to be haunted, it is unkempt and forbidding. The first night there, Emily's mother goes down to the basement to investigate a noise and doesn't return. The kids search for her and discover a doorway into another world, where their mother has been swallowed by a monster and is being taken away. An amulet that Emily found in the house tells her that together they can save her, but her brother isn't so sure that this voice can be trusted. Still, what other choice do they have in this strange place? Gorgeous illustrations with great color bring light to this gloomy tale. Filled with excitement, monsters, robots, and mysteries, this fantasy adventure will appeal to many readers, but it does have some truly nightmarish elements.—Dawn Rutherford, King County Library System, Bellevue, WA

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Publishers Weekly : Starred Review. In her extraordinary and often dark first novel, award-winning story writer Lanagan (Red Spikes) creates two worlds: the first a preindustrial village that might have sprung from a Brueghel canvas, a place of victims and victimizers; the second a personal heaven granted to Liga Longfield, who has survived her father's molestations and a gang rape but, with one baby and pregnant again, cannot risk any further pain. As she raises her two daughters, placid Branza and fiery Urdda, she discovers that her universe is permeable: a dwarf or littlee man, in Lanagan's characteristically knotted parlance, slips in and out of her world in search of treasure; and a good-hearted youth also enters, magically transformed into a bear in the process. A less kind man-bear follows, and then a teenage Urdda, avid for a richer life with the vivid people, figures out how to pass through the border, too. Writing in thick, clotted prose that holds the reader to a slow pace, Lanagan explores the savage and the gentlest sides of human nature, and how they coexist. With suggestions of bestiality and sodomy, the novel demands maturity—but the challenging text will attract only an ambitious audience anyway. Ages 14–up. (Oct.)

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School Library Journal : Starred Review. Gr 9 Up—A traumatized teen mother magically escapes to her own personal heaven in this daring and deeply moving fantasy. The characters, setting, much of the action, and even the very words of the title are taken from the Grimm Brothers' "Snow-White and Rose-Red," a sweet story of contrasting sisters who live deep in the forest and whose innocent hearts are filled with compassion for a lonely bear and an endangered dwarf. In the novel, Liga's daughters—one born of incest, the other of gang rape—first flourish in Liga's safe world. But encounters with magical bears and the crusty dwarf challenge them to see a world beyond their mother's secure dreamscape. Eventually the younger one, Urdda, and subsequently her sister and Liga are drawn back into the real world in which cruelty, hurt, and prejudice abound. But it is also only there that they can experience the range of human emotion, develop deep relationships, and discover who they truly are. The opening chapters vividly portray the emotional experience of a boy's first sexual encounter, mind-numbing abuse by Liga's father, and a violent gang rape. It's heavy fare even for sophisticated readers, but the author hits all the right notes, giving voice to both the joys and terrors that sexual experience can bestow without saying more than readers need to know to be fully with the characters. While the story explores what it means to be human, it is at its heart an incisive exploration of the uses and limitations of dissociation as a coping mechanism. Beautifully written and surprising, this is a novel not to be missed.—Carolyn Lehman, Humboldt State University, Arcata, CA

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Publishers Weekly : A sense of foreboding permeates the first half of this powerful novel, which opens with an allusion to a lynching: in the Deep South, says an unidentified narrator, the oldest trees do not speak because they are ashamed. Lester (Pharaoh's Daughter) begins the action proper in the summer of 1946, homing in on Ansel Anderson, being trained to take over his father's business at the age of 14—old enough, his father, Bert, thinks, to understand what it meant to be white and for shop assistant Willie, whom Ansel treats like a brother, to understand what it meant to be a nigger. After Willie's father is falsely accused of raping and murdering the preacher's daughter—by the man demonstrably guilty—the townsmen clamor for a hanging. Ansel demands that Bert back up Willie's testimony; Bert silences him and makes him help get the rope from the family store, then watch the lynching. Focusing on the repercussions of white guilt, the author's understated, haunting prose is as compelling as it is dark; if the characterizations tend toward the extreme, the story nonetheless leaves a deep impression. Ages 14–up. (Nov.)

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School Library Journal : Gr 7–10—With segregation still ruling the rural South in 1946, the friendship between Ansel Anderson, who is white, and Willie Benton, who is black, faces many obstacles. After the town eccentric offers the boys an opportunity to leave their homes and pursue their dreams, the 14-year-olds consider their options. However, when Ansel's father helps a mob lynch Willie's father for the murder of a white girl, the teens must pursue their destinies separately. After many years, Ansel stops by his hometown and encounters Zeph Davis, the actual killer. Lester's unconventional opening momentarily confuses readers, but they are soon drawn into the narrative. "Trees remember…. But some trees do not speak…because they are ashamed." Poignant and powerful phrasing overshadows spare character development and helps satisfy readers' desire to explore the deeper motivations for some behaviors. The understated violence, coupled with reflections on lynching, heightens the horror. Back matter includes an author's note that explains the genesis of the story, an appendix with lynching statistics broken down by state, and a bibliography of lynching-related titles. Detailing the death of a friendship and the drive to succeed, Lester's compelling tale is an excellent purchase for most libraries.—Chris Shoemaker, New York Public Library

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Publishers Weekly : Starred Review. Readers as yet unfamiliar with Link (Magic for Beginners) will be excited to discover her singular voice in this collection of nine short stories, her first book for young adults. The first entry, The Wrong Grave, immediately demonstrates her rare talents: a deadpan narration that conceals the author's metafictional sleight-of-hand (Miles had always been impulsive. I think you should know that right up front); subjects that range from absurd to mundane, all observed with equidistant irony. Miles, hoping to recover the poems he's buried with his dead girlfriend, digs up what appears to be the wrong corpse (It's a mistake anyone could make, interjects the narrator), who regains life and visits her mother, a lapsed Buddhist (Mrs. Baldwin had taken her Buddhism very seriously, once, before substitute teaching had knocked it out of her'). Other stories have more overtly magical or intertextual themes; in each, Link's peppering of her prose with random associations dislocates readers from the ordinary. With a quirky, fairytale style evocative of Neil Gaiman, the author mingles the grotesque and the ethereal to make magic on the page. Ages 12–up. (Oct.)

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School Library Journal : Gr 9 Up—In her first collection of stories for young adults, Link upends traditional horror, science fiction, and fantasy motifs, creating original, quirky, and distinctly beautiful literary landscapes. Honed, brilliant language renders blood, werewolves, ghosts, magic, and monsters sublime—at times even funny. Readers will relish uncertainty in these savory, strange stories and never feel quite sure of their footing. They proceed giddily, jumping from one uncanny premise, phrase, or image to the next, eventually stumbling upon a revelation that hits them like the snap of a rubber band. Clever resolutions and tricky plots place teens on delightfully circuitous reading paths. Unexpected endings force them to double back and reconsider each story from the beginning. In this second read, young adults might notice Link's seamless incorporation of their own experiences. Awkward adolescence, uncomfortable first love, frustrating parents, and complicated friendships surface quietly amid wonderfully knotty, twisted plots and incandescent imagery. This compilation of intricate, transfixing selections succeeds in making the weird wonderful and the grotesque absolutely gorgeous.—Shelley Huntington, New York Public Library

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Publishers Weekly: Starred Review. Big ideas are an essential part of the fun in this sparkling tour de force. Back at her elite boarding school after a summer vacation in which she has grown from duckling to swan, sophomore Frankie starts dating cool, gorgeous senior Matthew and instantly becomes a part of his charmed social circle. Hanging with Matthew and his crowd is a thrill, but Frankie begins to chafe as she realizes that the boys are all members of the secret society to which her own father belonged, the Loyal Order of the Basset Hound, and that not only will they never let her join, Matthew will not even tell her about it. Lockhart (Dramarama; The Boyfriend List) dexterously juggles a number of smart and tantalizing themes—class and privilege, feminism and romance, wordplay and thought, friendship and loyalty—and combines the pacing of a mystery with writing that realizes settings and characters, large and small, with an artist's sure hand. Inspired by a class called Cities, Art and Protest, Frankie concocts a brilliant plan to infiltrate the Bassets and has them carry out a series of pranks that wittily challenge the politics of the school. Girls especially will be interested in this unusual portrait of a heroine who falls in love without blurring her sense of self, even if none of her friends understands her, and in Lockhart's fresh approach to gender politics. An exuberant, mischievous story, it scores its points memorably and lastingly. Ages 12-up. (Mar.)

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School Library Journal : Starred Review. Gr 7 Up—Frankie Landau-Banks has always been underestimated. After spending her childhood as a bright but sheltered ugly duckling, she begins sophomore year at her elite boarding school as a swan, catching the attention of senior Matthew Livingston. Frankie is ecstatic, particularly when she learns that he is the leader of the Loyal Order of the Basset Hounds, an all-male secret society. She spends most of her time with Matthew and his friends but soon realizes that no matter how smart or funny she may be, she will never truly be a part of the group, simply because she is a girl. This frustrates her to no end. In a remarkable turn of events, Frankie takes control and begins to direct the Bassets, through email, in a series of elaborate school pranks, revitalizing the Order and the student body as well. These ingenious pranks embody the vigor of Frankie's personality, making social commentary on everything from the school's lack of female leadership to its disgusting cafeteria salad bar. Lockhart has created a layered and engrossing story that is as smart and quick as Frankie, combining the thrilling prospect of how she will get caught with her earnest attempts to understand what it means to be an outsider, an underdog, and in love. An empowered female hero like Frankie is a rare and refreshing find. She is the ultimate feminist role model for teens: a girl with guts and imagination who's brave enough to take on the "old boy's club."—Emily Anne Valente, New York Public Library

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School Library Journal : Gr 8 Up—For years, three factions—Townies, Cadets (city kids doing a six-week outdoor education program), and Jellicoe School students—have engaged in teen war games in the Australian countryside, defending territorial borders, negotiating for assets, and even taking hostages. Taylor Markham, a 17-year-old who was abandoned years ago by her mother, takes on leadership of the boarding school's six Houses. Plagued with doubts about being boss, she's not sure she can handle her Cadet counterpart, Jonah Griggs, whom she met several years before while running away to find her mother. When Hannah, a sort of house mother who has taken Taylor under her wing, disappears, Taylor puzzles over the book manuscript the woman left behind. Hannah's tale involves a tragic car accident on the Jellicoe Road more than 20 years earlier. Only three children survived, and Taylor discovers that this trio, plus a Cadet and a Townie, developed an epic friendship that was the foundation of the many mysteries in her life and identity, as well as of the war games. While the novel might put off casual readers, patient, thoughtful teens will remain to extract clues from the interwoven scraps of Hannah's narrative, just as Taylor does, all the while seeing the collapse of the barriers erected among the three groups over the years. Elegiac passages and a complex structure create a somewhat dense, melancholic narrative with elements of romance, mystery, and realistic fiction.—Suzanne Gordon, Peachtree Ridge High School, Suwanee, GA

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School Library Journal : Gr 8 Up—Several years have passed since the passageway to the Other Kingdom closed for the five sisters introduced in Wildwood Dancing (Knopf, 2007). Two are married with children, and Tati still has not been seen since she followed her true love into the other world. Cybele's Secret is told by scholarly Paula. Following an accident, she is required to travel with her father to Istanbul in order to assist him in procuring a mysterious religious artifact. Upon their arrival, it becomes clear that there are many who desire Cybele's Gift; not only is the artifact valuable and viewed as a good-luck charm, but also a new cult that practices ritual sacrifice to Cybele is rumored. Soon Paula embarks on a quest to an unfamiliar part of the Other Kingdom. At stake are the life and happiness of her sister, the unfulfilled debt of a friend, and the possibility of true love. Although the fantastical elements of this tale are brief until the last quarter of the book, the plot holds together, providing a sufficient complement to Wildwood Dancing. Paula is not featured extensively in the first book, and although her fierce independence, intellect, and physical attributes are similar to those of the previous narrator, Jena, it is still a pleasure to hear her voice. The Turkish culture is well researched and skillfully incorporated, bringing a richness to the scene in which the plot effortlessly arcs.—Heather M. Campbell, formerly at Philip S. Miller Library, Castle Rock, CO

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School Library Journal : Starred Review. Gr 7 Up—This well-crafted thriller with mythic undertones plays on contemporary fears of psychopathic pedophiles, child abduction, and sexually motivated murder, but it also offers readers rewards beyond sensationalism. The central characters are five sisters, each with a distinct personality, who—taken as a group—provide a delightful composite. Sensible Beauty, the oldest, is inaptly named and longs for love; wise Mim keeps her own counsel; brave Stevie acts first and thinks later; Fancy is intellectually delayed, but emotionally centered; and Autumn, the youngest, doesn't yet have a sense of self and writes in the second-person singular. As their daily life unfolds, they are watched by today's predatory wolf, a lonely, nameless man who observes the girls with a growing obsession. The story is alternately told from the viewpoints of three of the sisters and the abductor, and much of the suspense comes from readers knowing more than any one character. When the stalker finally makes his move and kidnaps Autumn, the pace and anxiety amp up dramatically. Scenes between the child and her abductor are chilling, and the family's grief and guilt are devastating. But there is also wisdom here, as readers see how the crisis brings out greater depth and capacity in all five girls. It is Autumn, though, who must call on all the qualities "divided up" in her family in order to survive. This riveting story ultimately reassures readers that with determination, forethought, courage, and luck, even the youngest of children can meet overwhelming odds and find their way home again.—Carolyn Lehman, Humboldt State University, Arcata, CA

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School Library Journal: Starred Review. Gr 4–8—Set in rural Mississippi during the hard years of Reconstruction, this novel follows the life of 12-year-old Addy O'Donnell. Abandoned by her parents, she is taken in by a pair of newlyweds, in spite of Mr. Frank's concern that the O'Donnells are "trouble." Addy knew hunger and mistreatment in No-Bob, the hollow claimed by her notorious extended family, but she feels a loyalty to them even as she begins to thrive in her new surroundings. Life takes another unexpected turn, though, when a new friend is killed in a church burning perpetrated by the newly formed Ku Klux Klan and then Addy's father shows up a few days later to take her home. Addy loves her pappy, but back in No-Bob, she begins to see the truth of his actions and nature and she realizes that she is going to have to make a decision that will determine the course of the rest of her life. While there are countless novels set during the Civil War, few focus on Reconstruction. This era in which the South was forced to reevaluate itself serves as a handy metaphor for Addy as she reevaluates her own life. McMullan fills her engrossing, character-driven story with well-chosen details that paint a clear, believable picture of a time long past. This will make a fine addition to libraries seeking to expand their historical fiction offerings.—Adrienne Furness, Webster Public Library, NY

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School Library Journal : Gr 9 Up—In this supernatural thriller set in a remote Canadian town in the dead of winter, four friends encounter a cannibalistic creature that is hunting and killing teens. Out late at night, Danny, the narrator, is stung by the terrible monster and it begins to stalk his nightmares. As he becomes increasingly and mysteriously ill, he realizes that his life is in danger. The foursome, after a failed attempt to involve law enforcement, decide to take on the behemoth with stolen dynamite and guns "borrowed" from their fathers. In addition to the main story line, the novel has Danny coming to terms with his mother's recent death and reconnecting with his father. Each of the friends comes across as an individual. Danny's love interest, Ash, a girl boxer who is half Ojibwa, is a particularly dynamic character (Danny's physical reaction to riding with her on her motorbike will ring true with hormonal teens). It is from Ash that Danny first hears stories about Windigos, "big, ugly things…with a chunk of ice for a heart." The unrelenting pace, short chapters, and the idea of teenagers taking on a monster with a large amount of weaponry will certainly appeal to fans of horror novels.—Caroline Tesauro, Radford Public Library, VA

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School Library Journal : Starred Review. Gr 9 Up—In Bethan, ME, 1987, Maren is pregnant; she claims that she is still a virgin. The story of her daughter, Aslaug, follows. She is raised by her severe mother in isolation. Her homeschooling, which includes multiple languages, religious studies, and herbology, excludes much more than it includes. Then, in 2003, Maren dies, and Aslaug discovers that she has an aunt and cousins nearby and begins living with them. She is simultaneously fascinated and confused by her discoveries of social interactions and how the world functions. Fast paced and suspenseful, Meldrum's novel deftly and subtly maintains tension by judiciously revealing key plot points. Aslaug narrates events from 2003 and 2004, which come back to haunt her in 2007, when she finds herself on trial for the murders of her aunt and cousin. Her story fills in gaps and masterfully manipulates perspective, ingeniously pointing out how everything can change depending on one's point of view. Chapters on the courtroom trial alternate with Aslaug's account, which leads up to the deaths. Deep examination of religion and science and how they intersect pervade the text in an exploratory and informative way. The inclusion of rape and poisoning lends darkness and weight to Aslaug's already intense experience. Filled with herbal imagery and nomenclature, the descriptions, both beautiful and surprising, paired with the expert control of pacing, make for a riveting and mind-opening experience.—Amy J. Chow, New York Public Library

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Library Journal : Starred Review. Meyer's YA vampire novels (Breaking Dawn will be out in August) have been touted in the Wall Street Journal as successors to J.K. Rowling's Harry Potter series. And with a fan base that has grown exponentially with each new release, they may not be far off. All of which makes the publication of Meyer's first adult novel even more noteworthy. It lives up to the hype, blending science fiction and romance in a way that has never worked so well. In this page-turner, Meyer explores what happens to relationships when two beings inhabit the same physical body. Earth has been overrun by an alien species called Souls, which invade human bodies and erase personalities. As the novel opens, Melanie Stryder, one of the few human holdouts, has been captured by the aliens and is implanted with a Soul named Wanderer, who is something of a legend among her own kind because of the many hosts and planets she has experienced. Inhabiting a human mind and body is unlike anything Wanderer has ever known, and soon she finds that Melanie isn't quite willing to give up to this invader. Overwhelmed by Melanie's memories and feelings, Wanderer finds herself driven to reconnect with Melanie's old life. As with her vampire novels, Meyer will make new fans of readers "who don't read books with aliens." Highly recommended for all public libraries. [See Prepub Alert, LJ 1/08.]—Jane Jorgenson, Madison P.L., WI

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Publishers Weekly : In this tantalizing SF thriller, planet-hopping parasites are inserting their silvery centipede selves into human brains, curing cancer, eliminating war and turning Earth into paradise. But some people want Earth back, warts and all, especially Melanie Stryder, who refuses to surrender, even after being captured in Chicago and becoming a host for a soul called Wanderer. Melanie uses her surviving brain cells to persuade Wanderer to help search for her loved ones in the Arizona desert. When the pair find Melanie's brother and her boyfriend in a hidden rebel cell led by her uncle, Wanderer is at first hated. Once the rebels accept Wanderer, whom they dub Wanda, Wanda's whole perspective on humanity changes. While the straightforward narrative is short on detail about the invasion and its stunning aftermath, it shines with romantic intrigue, especially when a love triangle (or quadrangle?!) develops for Wanda/Melanie. 10-city author tour. (May)

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School Library Journal : Adult/High School—A race of parasitic aliens has nearly completed its benevolent conquest of the aggressive, violent human race. By implanting themselves into humans, the souls have access to all of the hosts' memories and emotions and are indistinguishable from them. The humans do not realize they're being taken over until it is nearly too late. Some resist the invasion, including Melanie Stryder, her brother, and her lover. When Melanie is killed on a mission, her body is taken over by a soul named "Wanderer." Melanie's memories prove overwhelming for Wanderer, who eventually succumbs to her need to search out her family. What follows is a tale of survival, friendship, and love. By discussing Earth's invasion from the conqueror's viewpoint, the novel takes a unique look at a fairly standard plot device. It overcomes a slow beginning after Wanderer reaches the humans and begins to care about the ones she meets personally. She comes to love Melanie's brother like her own, fights her body's attraction to Melanie's lover, and grows ever closer to another human, Ian. The humans in turn accept Wanderer as a valuable and caring individual, rather than as Melanie's oppressor. They overcome their prejudices and begin to work together in the humans' best interests. Host will likely appeal to readers interested in supernatural romance or character-driven science fiction. Questions of what defines humanity and love add a philosophical angle to an engaging and entertaining title.—Karen E. Brooks-Reese, Carnegie Library of Pittsburgh, PA

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School Library Journal: Gr 5–9—Told by Joan, a recent transplant from Connecticut to Northern California in 1972, this tale embodies the transformative power of both the written word and friendship. While trekking through the woods near her house, the 11-year-old stumbles upon Sarah, who calls herself Fox. The two girls become inseparable companions in exploring the outdoors and their imaginations. They overcome disparities in background: Joan has a more traditional suburban life with a mother who tries to compensate for a sour, unhappy father; Fox lives with her father, a science-fiction author, in a run-down house, and prefers to believe that the mother who abandoned her years ago did so because she was transformed into a fox. Joan can't penetrate Fox's outsider persona at school, but away from class, they compose a contest-winning story of two girls questing in a magical forest. Their read-aloud performance at a San Francisco ceremony, wearing full lipstick war paint to make them feel suitably wild, gains them admittance to a summer writing program at Berkeley. Their avant-garde instructor urges them to pay attention and ask questions, helping them become stronger writers and more confident people, able to deal with difficult family challenges. Supporting characters are fully formed and intriguing. Murphy evokes her setting with skill and plays out themes of creativity and self-expression with grace and intensity. Readers will applaud the metamorphoses of Fox and Joan, who come to understand themselves and others through their art.—Suzanne Gordon, Peachtree Ridge High School, Suwanee, GA

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Publishers Weekly : Starred Review. Close in tone and audience to Napoli's Bound, this powerful survival story invents a backstory for Melkorka, a character in a major Icelandic work, the Laxdæla saga. Melkorka, 15, and sister Brigid, eight, are daughters of an Irish king early in the 10th century, when Viking raids on castles and monasteries are common. After a Norse youth attacks their brother, their father plans revenge by luring a Viking ship to their town. The girls, dressed as boys in peasant clothing, are hurriedly sent for their safety to a distant ringfort. Instead, they are captured by Russian slavers who troll the coastlines, kidnapping women and children. To conceal their high birth, Mel and Brigid do not speak, and their silence gives them a hold over their captors, the leader of whom comes to fear that Mel is an enchantress. Napoli does not shy from detailing practices that will make readers wince: human hairs serve as sutures, bloody wounds are stuffed with moss—and the Russian crew repeatedly gang-rapes an older captive. Melkorka's journey becomes intellectual as well as geographical. Accustomed to being waited on, she admits to disdain for slaves: Some are of ordinary intelligence, but most are stupid, she says at the beginning, an opinion that will change radically with her reversed circumstances. The vocabulary, much of which is specific to the setting, may challenge readers, but it's unlikely to stop them: the tension over Mel's hopes for escape paces this story like a thriller. Ages 12-up. (Oct.)

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School Library Journal: Starred Review. Gr 8 Up—In 10th-century Ireland, coexisting with the Vikings makes life dangerous, even for a princess. When Melkorka's father plans to avenge a brutal Norse attack, she and her sister are dressed as peasant boys and sent away for safety. However, they are captured by slave traders, who sail away with them. Drawing upon strength she did not know she had, Melkorka survives her capture and enslavement by choosing to become mute. At first, the silence comes from the princess's disdain for her animalistic captors. Before long, she realizes that her refusal to speak intrigues one of them and gives her a modicum of power over him that ends up saving her life. The longer she remains silent, the more mysterious Melkorka becomes to the men around her because nothing they do rattles her resolve. Even when she is finally sold to a powerful Norseman and becomes his concubine, her silence remains. And yet, she is not voiceless. The way in which she conducts herself speaks volumes about her will to live and her humanity. Perhaps the most poignant moment comes when the protagonist realizes that she will probably never return to Ireland. Napoli does an extraordinary job of using the first-person voice to keep readers in tune with Melkorka's maturing character; her beautifully recounted journey will stay with teens long after the book ends. Though in some ways the opposite of Laurie Halse Anderson's Speak (Farrar, 1999), Hush is an equally powerful exploration of what it means to have a voice.—Cheri Dobbs, Detroit Country Day Middle School, Beverly Hills, MI

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School Library Journal : Gr 9 Up—Todd Hewitt lives in a world in which all women are dead, and the thoughts of men and animals are constantly audible as Noise. Graphically represented by a set of scratchy fonts and sentence fragments that run into and over each other, Noise is an oppressive chaos of words, images, and sounds that makes human company exhausting and no thought truly private. The history of these peculiar circumstances unfolds over the course of the novel, but Ness's basic world-building is so immediately successful that readers, too, will be shocked when Todd and his dog, Manchee, first notice a silence in the Noise. Realizing that he must keep the silence secret from the town leaders, he runs away, and his terrified flight with an army in pursuit makes up the backbone of the plot. The emotional, physical, and intellectual drama is well crafted and relentless. Todd, who narrates in a vulnerable and stylized voice, is a sympathetic character who nevertheless makes a few wrenching mistakes. Manchee and Aaron, a zealot preacher, function both as characters and as symbols. Tension, suspense, and the regular bombardment of Noise are palpable throughout, mitigated by occasional moments of welcome humor. The cliff-hanger ending is unexpected and unsatisfying, but the book is still a pleasure for sophisticated readers comfortable with the length and the bleak, literary tone.—Megan Honig, New York Public Library

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School Library Journal : Gr 6–9—Brett thinks she knows herself pretty well: star soccer player, vocabulary ace, and best friend to Diane. But in eighth grade, Diane is more interested in the cheerleading crowd and everything is changing. A telephone prank backfires and Jeanne Anne, a new girl, manages to shift the blame to Brett, even though four girls were involved. Feeling victimized and angry, she loses her temper at school and punches Jeanne Anne, resulting in suspension. Within a few days, her social status has changed drastically, and the upheaval is mirrored at home when Brett discovers that her fun-loving grandmother is battling cancer. Over the course of the story, she moves from anger and obstinacy to a tentative exploration of the characteristics that really define Brett McCarthy. Although her path to self-discovery has its bumps, she ultimately realizes that the way she has thought of herself in the past has been more limiting than liberating. Padian's portrayal of the relationship between Brett and her Nonna is poignant and honest, especially as the cancer progresses and the girl must begin to let go. Chapter titles consisting of vocabulary words that Brett uses to describe her various emotional states ("apoplectic," "foreboding," "unprecedented," "surreal") give hints of things to come, but it is Padian's fully developed characters and ear for teenage voices that make this a story that will resonate with anyone who has ever felt isolated in the middle of a crowd.—Kim Dare, Fairfax County Public Schools, VA

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School Library Journal : Starred Review. Gr 8 Up—Seventeen-year-old Jenna Fox awakens after more than a year in a coma to find herself in a life—and a body—that she doesn't quite recognize. Her parents tell her that she's been in an accident, but much of her past identity and current situation remain a mystery to her: Why has her family abruptly moved from Boston to California, leaving all of her personal belongings behind? Why does her grandmother react to her with such antipathy? Why have her parents instructed her to make sure not to tell anyone about the circumstances of their move? And why can Jenna recite whole passages of Thoreau's Walden, but remember next to nothing of her own past? As she watches family videos of her childhood, strange memories begin to surface, and she slowly realizes that a terrible secret is being kept from her. Pearson has constructed a gripping, believable vision of a future dystopia. She explores issues surrounding scientific ethics, the power of science, and the nature of the soul with grace, poetry, and an apt sense of drama and suspense. Some of the supporting characters are a bit underdeveloped, but Jenna herself is complex, interesting, and very real. This is a beautiful blend of science fiction, medical thriller, and teen-relationship novel that melds into a seamless whole that will please fans of all three genres.—Meredith Robbins, Jacqueline Kennedy Onassis High School, New York City

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School Library Journal : Starred Review. Gr 7–10—In this first novel for young people set outside of Discworld, Pratchett again shows his humor and humanity. Worlds are destroyed and cultures collide when a tsunami hits islands in a vast ocean much like the Pacific. Mau, a boy on his way back home from his initiation period and ready for the ritual that will make him a man, is the only one of his people, the Nation, to survive. Ermintrude, a girl from somewhere like Britain in a time like the 19th century, is on her way to meet her father, the governor of the Mothering Sunday islands. She is the sole survivor of her ship (or so she thinks), which is wrecked on Mau's island. She reinvents herself as Daphne, and uses her wits and practical sense to help the straggling refugees from nearby islands who start arriving. When raiders land on the island, they are led by a mutineer from the wrecked ship, and Mau must use all of his ingenuity to outsmart him. Then, just as readers are settling in to thinking that all will be well in the new world that Daphne and Mau are helping to build, Pratchett turns the story on its head. The main characters are engaging and interesting, and are the perfect medium for the author's sly humor. Daphne is a close literary cousin of Tiffany Aching in her common sense and keen intelligence wedded to courage. A rich and thought-provoking read.—Sue Giffard, Ethical Culture Fieldston School, New York City

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Publishers Weekly : Starred Review. The last word is Hope, yet Reeve (Mortal Engines) injects deep cynicism into every other phrase of this Arthurian fable. As he tells it, Myrddin the enchanter is a charlatan of high degree, possessing no magic but a mastery of storytelling and fraud. Gwyna, the narrator, is perhaps nine years old when Myrddin sees her swim down a river to escape a house set afire by callous, marauding warlord Arthur. Myrddin promptly disguises her first as the Lady of the Lake and then as a boy apprentice. Gwyna soon learns to trust no one, doubt everything and scorn both male and female roles. She even becomes skeptical of the empire-building ambition behind Myrddin's efforts to recast Arthur's unremarkable exploits as the stuff of legend. Nodding to canon and history while not particularly following either (Lancelot and Morgan le Fay are notably absent), Reeve, like Myrddin, turns hallowed myth and supple prose to political purposes, neatly skewering the modern-day cult of spin and the age-old trickery behind it. Smart teens will love this. Ages 12–up. (Nov.)

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School Library Journal : Starred Review. Gr 8 Up—Reeve offers up a revisionist retelling of the Arthurian legend, set in southwest Britain in A.D. 500, and exposing the dark side of Camelot. Arthur is a brutal, bullying tyrant, and not terribly bright. His fame stems solely from the stories spun by Myrrdin, a traveling bard and trickster. But this story is not primarily Arthur's. It is Gwyna's, a child who is rescued by Myrddin when her village is sacked and burned. Myrrdin takes her under his care, disguising her first as the Lady of the Lake, and then as a boy. When adolescence arrives, Myrrdin reintroduces her to Arthur's court as a maid and she falls in love with Peredur, who has spent his childhood disguised as a girl. While the switching sexual identities may keep readers a bit off kilter, having the narrator be both Gwyn and Gwyna allows a dual perspective on Arthurian times. Reeve does not shy away from violence and gory battle scenes. When Arthur learns that his wife Gwenhwyfar is committing adultery with his young nephew, he beats and beheads Bedwyr in a particularly bloody episode. Gwenhwyfar is driven to suicide. Gwyna learns that Arthur's heroism and fame stem not from magic and noble deeds but rather from the stories Myrrdin spins. Indeed, with his death, she picks up his mantle. The power of stories is a theme of the novel. Reeve's usual lyrical, cinematic prose underscores the message that in the end perhaps they are the only things that matter. A multilayered tour de force for mature young readers.—Connie Tyrrell Burns, Mahoney Middle School, South Portland, ME

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Publishers Weekly : Starred Review. Reinhardt artfully parallels the construction of a house with the reconstruction of a broken family in a work as intimate and intelligently wrought as her previous YA novels, A Brief Chapter in My Impossible Life and Harmless. Shaken by the recent divorce of her father and stepmother and her separation from stepsister and best friend, Tess, Harper Evans jumps at the chance to participate in a summer program in a small Tennessee town, where she and other high school students will build a new house for a family whose home was destroyed by a tornado. Harper aims to bury herself in physical labor to forget about problems back in L.A., but gets sidetracked when she falls in love with Teddy, one of the house's intended residents. Weaving flashbacks of Harper's home life before and after the divorce into the romance between Harper and Teddy, Reinhardt builds a story within a story: one exploring reasons the heroine feels betrayed, the other focusing on how she learns to trust again. This meticulously crafted book illustrates how both homes and relationships can be resurrected through hard work, hope and teamwork. Ages 12-up. (May)

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School Library Journal : Starred Review. Gr 9 Up—Seventeen-year-old Harper Evans is spending her summer with Homes from the Heart, a teen volunteer organization that is rebuilding a home in Bailey, TN, after the town is hit by a major tornado. Harper, an LA resident, has never built anything, but she wants to help, and she also wants to get away from the havoc in her own life. Her father and stepmother are getting divorced, her sometime-boyfriend Gabriel, with whom she is sexually active, is indifferent, and her beloved stepsister, Tess, is increasingly distant and seemingly hostile toward her. As Harper says, "I know a thing or two about people whose homes have been destroyed. Their lives uprooted. Everything gone." As the summer progresses, Harper becomes increasingly confident as she learns how to handle power tools and flash a doorsill. She also begins to rebuild her own life as she forms new friendships with her fellow volunteers, begins a romantic relationship with the son of the family for whom the house is being built, and eventually moves toward a reconciliation with Tess. This is a thoughtful treatment of what it means to rebuild, not just physical structures, but also lives and families, and the novel emphasizes values such as compassion for others and forgiveness without becoming preachy. Harper is a sympathetic, believable character whose narrative voice expresses wit and heartbreak, and her emotional journey will have tremendous appeal for mature teen readers.—Kathleen E. Gruver, Burlington County Library, Westampton, NJ

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Publishers Weekly : Tautly constructed, metaphorically rich, emotionally gripping and seductively told,Schmidt's (The Wednesday Wars) novel opens in the 300-year-old ancestral home of Henry Smith, whose father has raised him to believe that if you build your house far enough away from Trouble, then Trouble will never find you. With such an opening, it is inevitable that Trouble does find the aristocratic Smiths: Henry's older brother, Franklin, is critically injured by a truck. A Cambodian refugee named Chay, who attends the same school as Franklin, acknowledges responsibility, but over the course of Chay's trial it occurs, to Henry at least, that it was Franklin who sought Trouble: the racism he directed toward Chay specifically and Cambodian immigrants generally has been so widely shared in the community that no one challenged it. Twin sequences of events plunge the Smiths and Chay into further tragedy, also revealing the ravages of Chay's childhood under the Khmer Rouge. At the same time, a storm exposes a charred slave ship long buried on the Smiths' private beach: it emerges that their house has been close to Trouble all along. For all the fine crafting, the novel takes a disturbingly broad-brush approach to racism. Characters are either thuggish or willfully blind or saintly, easily pegged on a moral scale—and therefore untrue to life. Ages 12-up. (Apr.)

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School Library Journal : Starred Review. Gr 7–10—Nothing is as it seems when Trouble arrives in varied and symbolic ways for two families and two communities. Franklin Smith, the arrogant scion of an aristocratic New England family, is accidentally struck while running and subsequently dies. The blame is accepted by a classmate, a Cambodian immigrant from a nearby town. When legal technicalities prevent Chay Chouan from being jailed, the perceived miscarriage of justice reverberates through idyllic Blythbury-by-the-Sea. Franklin's younger brother, Henry, becomes determined to climb Mount Katahdin, a feat that Franklin had coldly suggested might prove that Henry had guts. Henry sets out hitchhiking for the mountain with best friend Sanborn. Somewhat improbably they are picked up by Chay, who has been expelled by his father and is driving the truck that killed Franklin. Their symbolic journey predictably includes moments of danger, self-discovery, and reconciliation, fortunately leavened by the humorously ironic Sanborn. Complex structure allows revelations into the character of Chay, child of a violent refugee camp, unwanted product of rape, lover of poetry, and protector of Henry's sister (in a Romeo-and-Juliet twist). Teeming with plot elements, some of which may seem too purposeful, and richly veined with social and psychological crosscurrents, this story may be seen as allegorical in its intent and representation. Nevertheless it contains Schmidt's eloquent language and compelling characters, as well as compassionate examinations of the passage from childhood to adulthood and of the patterns of common experience that mark and unite us as humans.—Kate McClelland, Perrot Memorial Library, Old Greenwich, CT

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School Library Journal : Starred Review. Gr 7 Up—Stable and stoic Elena is a high school freshman when her beloved older sister, Dora, is hospitalized for depression. Elena takes it upon herself to look after her sibling when she comes home, while Dora and, ultimately, the entire family fall to pieces. In the end, Elena, with the help of her friend Jimmy Zenk, comes to realize that she alone can't make her better and that Dora has to help herself. With few words, characters are expertly fleshed out. For example, telling details reveal Elena's personality: "Matching socks was generally acknowledged to be my specialty." Schumacher eloquently describes the devastating effect that depression can have on a family. The writing is spare, direct, and honest. Written in the first person, this is a readable, ultimately uplifting book about a difficult subject.—Ragan O'Malley, Saint Ann's School, Brooklyn, NY

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Publishers Weekly : Starred Review. Fans of Scott's YA romances Perfect You or Bloom may be unprepared for the unrelieved terror within this chilling novel, about a 15-year-old girl who has spent the last five years being abused by a kidnapper named Ray and is kept powerless by Ray's promise to harm her family if she makes one false move. The narrator knows she is the second of the girls Ray has abducted and renamed Alice; Ray killed the first when she outgrew her childlike body at 15, and now Alice half-hopes her own demise is approaching (I think of the knife in the kitchen, of the bridges I've seen from the bus... but the thing about hearts is that they always want to keep beating). Ray, however, has an even more sinister plan: he orders Alice to find a new girl, then train her to Ray's tastes. Scott's prose is spare and damning, relying on suggestive details and their impact on Alice to convey the unimaginable violence she repeatedly experiences. Disturbing but fascinating, the book exerts an inescapable grip on readers—like Alice, they have virtually no choice but to continue until the conclusion sets them free. Ages 16–up. (Sept.)

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School Library Journal : Gr 9 Up—The numb voice of a teen who has been devastated by five years of captivity and compliance, a girl who has been named "Alice" by her abductor, relates her grim story. At 15, she still believes the threat by which Ray controlled her when she was almost 10 and he walked her away from a school field trip: he's made it clear that if she bolts he will kill her family. The trauma of multiple rapes on a child is portrayed, as is Ray's ongoing need to control her and his daily, multiple demands for sexual submission. Now that she's a teen, Alice is being starved; his disordered logic tells him that this will keep her a little girl. His control over her is so absolute that, although she can leave his apartment during the day and goes on her own to have a wax job, her only rebellion is to steal small amounts of food. When Ray decides it is time for a new little girl, Alice complies by locating a likely next victim. In the process she meets a needy teen boy and a police officer, both of whom suspect she is in trouble and want to help her, but all does not end happily. This story lacks the vivid characters and psychological insights of Norma Fox Mazer's chilling The Missing Girl (HarperCollins, 2008). For an ultimately hopeful, but still realistic portrayal of a damaged survivor of abduction and sexual imprisonment, see Catherine Atkins's When Jeff Comes Home (Putnam, 1999)—Carolyn Lehman, Humboldt State University, Arcata, CA

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School Library Journal : Gr 10 Up—Danielle, 18, has been a thief all her life. Moving from town to town, she and her mom stay around only long enough to canvas the rich and steal their silver. When she was 15, they moved on at Danielle's request, after she had sex for "the first and only time" with her mother's 20-year-old boyfriend. It's a lifestyle the teen is used to, but she's beginning to long for something more. She wants roots, friends, and a place to call home. When they hit the small resort town of Heaven, Danielle knows the routine. Her mom will chat up the men for information and she, now using the name Sydney, is supposed to do the same with her peers. Only something goes wrong, and "Sydney" begins to make friends with the mark, flirt with a local cop, and generally do everything her mom's always told her to avoid. And when it's time for the heist, Danielle is no longer sure she can follow her mom's demands. This story is deceptively touching. Danielle and her mother are both fully developed, as are the secondary characters of Allison (the friend) and Greg (the young cop). The overriding theme of living up to a parent's expectations instead of following your own path is universal, but the twist of a family of thieves gives the story originality.—Heather E. Miller, Homewood Public Library, AL

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Publishers Weekly: Starred Review. Based on Sheth's (Koyal Dark, Mango Sweet) great-aunt's childhood, this absorbing, atmospheric novel opens in 1918 India, as pretty, 12-year-old Leela enjoys the pampering of her parents and the affections of her in-laws, whose house she will enter after her anu ceremony the following year. But when her husband dies of snakebite, Leela faces an altogether different fate as a widow. Because her family is brahman, Leela must relinquish all her jewelry and pretty saris, shave her head and, for an entire year, stay indoors, or keep corner. With encouragement from her older brother and help from her teacher, a disciple of Gandhi and his advocacy for social change, Leela finds the strength to challenge tradition as the year of keeping corner evolves. Sheth expertly weaves rich descriptions into the day-to-day activities (Ideas sank into my mind like monsoon rain into soil). Although readers unfamiliar with Indian history may not grasp the use of India's independence as a metaphor for Leela's growth, they will thoroughly identify with the heroine as she develops from a pleasure-seeking girl into an intelligent young woman: Your inner self is like an onion, she realizes, you keep peeling it and a new layer is always there.Ages 12-up. (Oct.)

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School Library Journal: Starred Review. Gr 6–9—Married at age 9, 12-year-old Leela looks forward to her anu, the ceremony to send her to her husband's home. Instead, his sudden death forces the young widow to stay in her own home for a year and face a bleak future. Suddenly, her life is "living death." The privileged Brahmin child living in rural India in 1918 can no longer wear the brightly colored clothing and beautiful jewelry she loves; her head is shaved. Even after her year in isolation, others will shun her or worse. Luckily for Leela, her older brother finds a teacher to tutor her, preparing her for examinations that might allow her to go on to school and a career in a less traditional city, if her family can be convinced. Thanks to the teacher's assignment to note and record details of the simple world in which Leela is confined, readers are immersed in sensory detail: the sights, sounds, tastes, and smells that surround her. Leela reads the newspaper, learning about Gandhi, whose influence is just beginning to be felt in a series of nonviolent protests. Her recognition of the unfairness of her situation and her growing personal strength is paralleled by changes in her country, long ruled by the English and by rigid tradition. As in Koyal Dark, Mango Sweet (Hyperion, 2006), Sheth provides a first-person narrative with a strong protagonist and rich sense of place, with the added bonus of an unusual historical perspective.—Kathleen Isaacs, Towson University, MD

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School Library Journal : Starred Review. Gr 7–10—In this sequel to The Schwa Was Here (Dutton, 2004), Brooklynite Antsy Bonano, 14, finds another peculiar friend, a Swedish import named Gunnar Ümlaut. When a balloon from the Macy's Thanksgiving Day Parade gets away, Antsy and his friends Howie and Ira head into Manhattan to follow the debacle. On the way, they run into their classmate Gunnar. Watching the catastrophe unfold, he confides to Antsy that he's been "coming to disasters" lately, and that he's dying of Pulmonary Monoxic Systemia. Gunnar says he has only six months to live, so Antsy gives him one of his own, drawing up a legal-looking document, and, before he knows it, the whole school's giving Gunnar months of their lives. Spending more time at Gunnar's house, Antsy falls for his friend's older sister, and also notices that things seem off. Gunnar's obsession with his presumed imminent death is largely ignored. When Antsy discovers that Gunnar is not going to die, that he was "diagnosed" by a fake online doctor, he wonders why the boy lied. As Antsy uncovers the truth—that Gunnar's dad has gambled away the family's money and they're headed back to Sweden—he learns more about the meaning of the time you have on Earth. This novel is as cleverly plotted and well paced as The Schwa; it is brimming with amusing secondary characters and situations that add depth and interest. Fans won't be disappointed, and newcomers won't have any problem jumping right in.—Jennifer Barnes, Homewood Library, IL

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Publishers Weekly : Starred Review. Smith's first novel, a deceptively simple coming-of-age story, defies expectations via its sublime imagery and its elliptical narrative structure. Troy, 16, and two childhood friends spend the summer following Troy's mother's death wrangling wild horses while drinking homemade wine and sampling chewing tobacco. Each of their brushes with danger—a rattlesnake attack, a predatory mountain lion—they commemorate with tattoos and rituals in homage to the mysterious force they call ghost medicine. The intrepid Troy—who, in the beginning of the book, reads sections of The Idiot and Jude the Obscure while hiding out in his grandfather's mountain cabin with his horse—grapples with his mother's death through philosophical ruminations: There might be a God [but] He is, at best, ambivalent to all of the things set in motion in this world. In the periphery is Troy's first love, Luz, for whom Troy contemplates staying forever in the idyllic landscape, rather than leaving for college. While the summer climaxes with jarring violence, the possibility of a true departure never materializes: the outside world is held at bay by the inscrutable questions unveiled in the book's conclusion. Ages 12–up. (Sept.)

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School Library Journal : Gr 8 Up—Distant from his emotionally absent father, and missing his mother, who died recently, 16-year-old Troy first finds solace on a solo camping trip and then with his friends—Tom Buller, a wild and fearless farmhand; Gabe Benavidez, the timorous and underestimated son of a wealthy Western ranch owner; and Luz Benavidez, Gabe's sister and Troy's lifetime love. That summer is a journey of loss, self-discovery, pain, triumph, and growth as the young people try to define who they are and what they're meant to do. Oftentimes they seek answers from what Troy calls Ghost Medicine, a Native American philosophy that explains the strength and signs that can be drawn from nature. While Troy senses that change is coming fast and fierce, he never imagines the deadly threat the sheriff's son imposes when childhood pranks, jealousy, and vengeance get out of control. Troy wishes to be lost, but his greatest hope is to be found, and Ghost Medicine beautifully captures that paradox in this timeless and tender coming-of-age story. Not only will it inspire readers to prod the boundaries of their own courage, but it will also remind them that life and love are precious and fleeting.—Terri Clark, Smokey Hill Library, Centennial, CO

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Publishers Weekly : This auspicious graphic novel debut by cousins Mariko and Jillian Tamaki tells the story of "Skim," aka Kimberly Keiko Cameron, a goth girl in an all-girls school in Toronto, circa the early '90s. Skim is an articulate, angsty teenager, the classic outsider yearning for some form of acceptance. She begins a fanciful romance with her English teacher, Ms. Archer, while nursing her best friend through a period of mourning. The particulars of the story may not be its strong suit, though. It's Jillian's artwork that sets it apart from the coming-of-age pack. Jillian has a swooping, gorgeous pen line-expressive, vibrant and precise all at once. Her renderings of Skim and her friends, Skim alone or just the teenage environment in which the story is steeped are evocative and wondrous. Like Craig Thompson's Blankets, the inky art lifts the story into a more poetic, elegiac realm. It complements Mariko's fine ear for dialogue and the incidentals and events of adolescent life. Skim is an unusually strong graphic novel-rich in visuals and observations, and rewarding of repeated readings. (Feb.)

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School Library Journal : Gr 10 Up–Kimberly Keiko Cameron–aka Skim–is a mixed-race high school student struggling with identity, friendships, and romantic yearning. After her parents' divorce, she turns to tarot cards and Wicca to make sense of life but finds herself disappointed with the lack of answers they provide. She finds herself increasingly intrigued by Ms. Archer, her free-spirited English teacher. Her interest becomes obsessive and it begins to drive a wedge between her and her best friend, Lisa. Although Skim originally makes light of the half-hearted suicide attempts of popular Katie, whose ex-boyfriend committed suicide, the two of them begin to open up to one another. Skim soon realizes that perfect Katie is far funnier, more genuine, and more traumatized than she originally thought–particularly when it comes to light that John shot himself due to his homosexuality. Drawn in an expressive, fluid style and with realistic dialogue, this work accurately depicts the confusion of teenage years, with its rejection of previous identity and past relationships and search for a newer and truer identity; additionally, insider/outsider status is a reoccurring theme. Skim's internal monologue is diarylike, with an interesting use of scratched-out words. This is a good but somewhat standard work.–Dave Inabnitt, Brooklyn Public Library, NY

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School Library Journal : Gr 9 Up—Sutter Keely, a high school senior, is determined to live in the moment. He eschews planning for the future, intent on letting the good times roll. Sutter's been downing six packs since seventh grade and is rarely without his flask of Seagram's. Despite the heavy drinking and some raunchy sex talk, he is initially a likable character with a fresh and funny voice, but his affability wanes quickly and that voice just doesn't ring true. He meets Aimee when he passes out on her front yard. Sutter isn't really interested at first and only dates her because he considers her a project, someone he can help become less of a social outcast. Along the way, he begins to come off as condescending and egotistical and his sarcasm isn't as comic. It's a well-written book told in first person, but the narration seems much too sophisticated to be believable. He uses phrases like, "I am…sore at heart" and utters phrases like, "the room brimmed with padded chairs." Some of the plot is also disconcerting. As the result of Sutter's drunk driving, Aimee is struck by a car on a highway and suffers only a broken arm. The story ends with Sutter drinking in a bar, assured he's a hero after dumping Aimee, and rejoicing about feeling nothing.—Patricia N. McClune, Conestoga Valley High School Library, Lancaster, PA

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Publishers Weekly : Starred Review. It's difficult to pinpoint just what makes this British debut so quietly disturbing yet so compulsively readable. Valentine simultaneously attempts a detective caper, a commentary on euthanasia and a youth's pithy send up of an unfair world—and succeeds. Despite its oddball plot, in which 15-year-old Lucas inadvertently stumbles upon an abandoned urn of ashes in a cab depot and, in an uncanny twist of fate, unearths the truth about his father, who disappeared five years earlier, the novel raises serious questions about death even as it exposes the entrails of a broken family. Even with the heavy subject matter, Valentine gives humor free reign, as Lucas mouths off in cheeky British twang about his annoying sister, his lack of friends and his sense that he is the only one still holding a torch for his father. Ages 14–up. A memorable new voice. (Apr.)

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School Library Journal : Starred Review. Gr 8–11—Sixteen-year-old Lucas idealizes his father, Pete, who disappeared when the boy was six. Mum says they were abandoned, although Lucas makes excuses for his dad. On entering a minicab office one day, he finds himself drawn to an urn containing the ashes of a woman named Violet, which someone left in a cab years before. Part mystery, part magical realism, part story of personal growth, and in large part simply about a funny teenager making light of his and his family's pain, this short novel is engaging from start to finish. It feels like Frank Cottrell Boyce's Framed (2006) or Millions (2004, both HarperCollins) for a slightly older crowd—especially in the all-too-human quirky family members and their willingness to employ creative methods to secure their ends as well as in the contemporary middle-class London setting. Throughout, Lucas's tongue-in-cheek lists (e.g., "good reasons to make friends with a dead lady in an urn") relieve the seriousness of his family's situation and his relatively mature revelations about them and himself. Lucas steadily unravels the two mysteries—the deceased Violet and the missing Pete—and leaves readers with a highly satisfying surprise inside the final knot. Neither too heavy nor too fluffy.—Rhona Campbell, Washington, DC Public Library

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Publishers Weekly : Starred Review. Venkatraman makes a memorable debut with this lushly evoked novel set in India during WWII. Fifteen-year-old Vidya is shocked and proud to learn that her appa (father), a compassionate doctor, has joined the freedom fighters, who follow Gandhi's example of nonviolent protest against British rule. But tragedy strikes: during a rally Vidya's father is beaten nearly to death and left with severe brain injury. Because he can no longer practice medicine, the family is forced to move in with relatives, who treat them as servants. The only bright moments of Vidya's days, otherwise spent under the thumb of her tyrannical aunt, come before dinner, when she is allowed to slip upstairs to the library and bury herself in books. More than a feisty Cinderella story (and yes, Vidya does find a prince), this novel vivifies a unique era and culture as it movingly expresses how love and hope can blossom even under the most dismal of circumstances. Ages 12–up. (May)

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School Library Journal : Gr 7–9—In 1941, 15-year-old Vidya's life in Bombay stands in direct contrast to that of her relatives in Madras for whom the traditional path of an arranged marriage, babies, and a life of serving a husband is not only expected but is also considered a girl's only proper option. Alternately, the goal of attending college like her brother is encouraged by her physician father. Turmoil is raging within Colonial India's borders as many view their British occupation negatively, holding protest rallies. Nonviolence, one of Vidya's father's principles, motivates him to secretly attend to the injured and beaten protestors. The teen's idyllic life changes in an instant when he is beaten by the British police and suffers extensive brain damage. Unable to earn a living and lead a productive life, this highly respected man and his family move in with his relatives. Vidya's dreams are shattered as her father's stature is immediately lowered to that of "an idiot" and she is forced to withstand her aunt's sharp-tongued, abusive taunts. Vidya's bright, bold, independent character remains determined to achieve her goals with the help and support of her grandfather, who first allows her access to his private library and later agrees to her formal university education. This is a poignant look at a young woman's vigilance to break from expectations and create her own destiny amid a country's struggle for independence.—Rita Soltan, Youth Services Consultant, West Bloomfield, MI

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Publishers Weekly : Set in a small New Mexico town along the Rio Grande River, Voorhees's debut novel puts a fresh and often funny spin on a familiar plot line, the awkward teen boy who desires the hot girl. Rebecca Sanchez, says Frankie Torres, is biracial, a coyote like me, but unlike me, she got the best of both worlds.... Eyes such a deep shade of blue that sometimes you want to lean in close so you can see the bottom. Cheesy as hell? Definitely. But I'm telling you. If only Frankie can find the right words to ask her to the homecoming dance! But not all is light: Frankie worries about his bad-ass older brother Steve's taste for macho violence, especially after Frankie gets beaten up by rich white boy John Dalton—how far will Steve go to get revenge? Strong secondary characters round out this sexually charged story, which is peppered with Spanish words and phrases. Frankie's observations on life, friendships and family loyalties wittily punctuate the narrative, ensuring that readers will listen closely to this unlikely hero. Ages 14–up. (Apr.)

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School Library Journal : Starred Review. Gr 9 Up—Frankie Torres Towers knows his older brother, Steve, is endangering his college scholarship by staying out all night with the local cholos and picking fights with his soccer teammates. Accepting of his sibling's good looks and macho charm, Frankie figures Steve is just looking for respect and covers for him, deflecting his parents' questions and picking up the slack at Los Torres, the family's New Mexican restaurant. Frankie's primary obsession is getting a date with Rebecca Sanchez for the Homecoming dance. When he exhibits some bravado against rich kid and soccer jock John Dalton, he only hopes to win her attention, but he unintentionally incites a series of incidents that forces his brother to defend him. Adding insult to injury, Frankie's working-class parents begin secretly negotiating the sale of Los Torres to the Daltons. Protected by his brother's squad of toughs, Frankie seeks revenge but soon learns what these warring factions of older boys are willing to risk. Frankie is as memorable a character as Sherman Alexie's Junior Spirit in The Absolutely True Diary of a Part-Time Indian (Little, Brown, 2007). He exhibits a resiliency that is hopeful, and his colorful language and humor both confirm and dispel ethnic stereotypes. Flecked with Spanish phrases and authentic street slang and colloquialisms, Frankie's story is as poignant as it is hip and funny and will be a welcome addition to collections serving teens.—Vicki Reutter, Cazenovia High School, NY

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Publishers Weekly: Werlin (TheRules of Survival) melds fantasy and suspense in a contemporary setting for a romance with plenty of teen appeal. Lucy Scarborough, raped on prom night, is pregnant. Committed to keeping the baby, she nonetheless sees disturbing parallels to her mentally ill mother, Miranda, who had Lucy as a teen, then left her in the care of the Markowitzes—Soledad, a nurse-midwife, and her husband, Leo. Boy-next-door-type Zach, home from college and living with the Markowitzes, happens upon Miranda's teenage diary, which outlines a curse placed on Lucy's family generations earlier by the evil Elfin Knight: the women all give birth as teens before descending into madness. Lucy can break the curse only by performing three impossible tasks set forth in a variant of the ballad Scarborough Fair. None of her forebears have come even close, but then none of them had help from the selfless Markowitzes, the love-struck and self-sacrificing Zach or the Internet, where items like goat horns can be easily located: Lucy is the luckiest accursed girl ever. Werlin disguises the retro elements by creating feminist male leads, and even though the outcome is never in doubt, she builds nail-biting tension. Ages 12–up. (Sept.)

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School Library Journal : Starred Review. Gr 9 Up—Werlin combines magic, romance, and a family curse in this 21st-century fairy tale based on the ballad "Scarborough Fair." On the night of her prom, Lucy, 17, is raped by her date and becomes pregnant. She decides to keep the child, and she is supported by her foster parents and Zach, her childhood friend whose love for Lucy changes from platonic to romantic as the story progresses. The teen discovers the curse on the women in her family when she reads her birth mother's diary. Lucy is destined for madness at 18 unless she can perform the three impossible tasks described in the song and break the curse of the Elfin Knight. She is determined to rid herself and her unborn child of the curse, and her family and Zach help her as she works to solve the riddles. This unique story flows smoothly and evenly, and the well-drawn characters and subtle hints of magic early on allow readers to enter willingly into the world of fantasy. As in The Rules of Survival (Dial, 2006), Werlin addresses tough topics. Rape, teen pregnancy, and family madness set the story in motion, but the strength of Lucy's character and the love of her family and friends allow her to deal with such difficult matters and take on the impossible. Teens, especially young women, will enjoy this romantic fairy tale with modern trappings.—Jennifer D. Montgomery, Western Kentucky University, Bowling Green

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Publishers Weekly : Wood's (The Napping House) first foray into graphic novels is a visual stunner. Sumo and Duffy Pugg are called out of class by their father, who insists they immediately go off with their long-lost, oddly named cousin, Mr. Come-and-Go, to visit their (also unknown to them) Aunt Lulu on Kocalaha, the island where their absent mother was born. Blunt, bald and broad as a refrigerator, Come-and-Go does not inspire confidence in Sumo, the less adventurous of the brothers, and his reluctance looks reasonable when Lulu hustles them off on a mysterious expedition, which involves entering Kocalaha's volcano as it is erupting. Wood's full-color digital illustrations vividly depict fabulous scenery—lava flows, ocean swells, lush foliage—and the muscularity of the action will impress thrill-seeking readers. The boys repeatedly face peril, including a terrifying and surreal episode in which deathly specters surround Sumo while he tries to rescue Duffy. The plot does not answer all the questions it raises: the boys' trip is eventually explained, but not why their father has sanctioned it. The audience will likely be too busy living vicariously through Sumo and Duffy's ultimately excellent adventure to mind. Ages 7–up. (Oct.)

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School Library Journal : Starred Review. Gr 5-8–This intense mystery-adventure coming-of-age chapter book is done in comic-book style–something of a departure for Wood. Two brothers, Duffy and Sumo, are sent to Hawaii to visit their mysterious aunt, who hustles them off on a perilous expedition into the bowels of an erupting volcano, accompanied by strangers whose skills are obvious, but whose trustworthiness is not. The dangers the boys face are terrifying, especially an interlude during which Sumo, wracked by guilt and indecision after he thinks his brother has fallen to his death, is trapped in the dark on an underground cliff and is visited by the specter of Death. That the children, who appear to be 10 or 12, have been exposed to such peril knowingly by an adult who has been entrusted with their care is a dark vein running through the story. Wood's vividly colored artwork brings the perils the siblings face into startling focus. Keenly observed depictions of the Hawaiian landscape and geological processes lend an impressive veracity to this exciting and unusual offering. It is a rare example of a graphic novel for young people that is neither manga nor mainstream.–Paula Willey, Baltimore County Public Library, Towson, MD

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Publishers Weekly: Starred Review. As she did in Feathers with the poetry of Emily Dickinson, Woodson here invokes the music of the late rapper Tupac Shakur, whose songs address the inequalities confronting many African-Americans. In 1994, the anonymous narrator is 11, and Tupac has been shot. Everyone in her safe Queens neighborhood is listening to his music and talking about him, even though the world he sings about seems remote to her. Meanwhile D, a foster child, meets the narrator and her best friend, Neeka, while roaming around the city by herself (She's like from another planet. The Planet of the Free, Neeka later remarks). They become close, calling themselves Three the Hard Way, and Tupac's music becomes a soundtrack for the two years they spend together. Early on, when Tupac sings, ''Brenda's Got a Baby,'' about a girl putting her baby in a trash can, D explains, ''He sings about the things that I'm living,'' and Neeka and the narrator become aware of all the ''stuff we ain't gonna know [about D],'' who never does tell them where she lives or who her mother is. The story ends in 1996 with Tupac's untimely death and the reappearance of D's mother, who takes D with her, out of roaming range. Woodson delicately unfolds issues about race and less obvious forms of oppression as the narrator becomes aware of them; occasionally, the plot feels manipulated toward that purpose. Even so, the subtlety and depth with which the author conveys the girls' relationships lend this novel exceptional vividness and staying power. Ages 12-up. (Jan.)

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School Library Journal : Starred Review. Gr 6–10—D Foster, Neeka, and an unnamed narrator grow from being 11 to 13 with Tupac Shakur's music, shootings, and legal troubles as the backdrop. Neeka and the narrator have lived on the same block forever and are like sisters, but foster child D shows up during the summer of 1994, while she is out "roaming." D immediately finds a place in the heart of the other girls, and the "Three the Hard Way" bond over their love of Tupac's music. It seems especially relevant to D, who sees truth in his lyrics, having experienced the hard life herself in group homes and with multiple foster families. Woodson's spare, poetic, language and realistic Queens, NY, street vernacular reveal a time and a relationship, each chapter a vignette depicting an event in the lives of the girls and evoking mood more than telling a story. In this urban setting, there are, refreshingly, caring adults and children playing on the street instead of drug dealers on every corner. Readers are right on the block with bossy mothers, rope-jumping girls, and chess-playing elders. With Tupac's name and picture on the cover, this slim volume will immediately appeal to teens, and the emotions and high-quality writing make it a book well worth recommending. By the end, readers realize that, along with the girls, they don't really know D at all. As she says, "I came on this street and y'all became my friends. That's the D puzzle." And readers will find it a puzzle well worth their time.—Kelly Vikstrom, Enoch Pratt Free Library, Baltimore, MD

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Publishers Weekly: Starred Review. This book about a former misfit who must face her troubled childhood is dark and engrossing, thanks to Zarr's (Story of a Girl) full-bodied characters and creative storytelling. Through well-timed flashbacks, thin, popular high school senior Jenna remembers being fat Jennifer, who along with her best friend, Cameron, endures teasing in elementary school and a hard home life (her single mother is almost never home, and his abusive father traumatizes both children). After Cameron moves away, Jennifer's cruel classmates tell her he has died, and her mother corroborates the story; readers may find it hard to believe the subsequent revelation that she has, in fact, lied. But they will appreciate how honestly Jenna reveals the toll it takes on her when Cameron suddenly reappears, transferring into her senior class (she starts stealing and binge-eating again); their rekindled connection forces her to decide if Jenna is really who she wants to be. There is harsh material here, in the characters' presents as well as their pasts: Cameron is now an emancipated minor, and Jenna's family temporarily takes him in when he becomes homeless. Flashbacks to a horrifying episode with Cameron's father are revealed slowly and carefully, filling readers with a sense of dread, but ultimately her memories teach Jenna something surprising about her own strength. Other realistically flawed characters, from a mother who must learn truly to help her daughter to Cameron himself, round out this complex and bittersweet story of friendship and the meaning of unfinished business. Ages 12-up. (Feb.)

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School Library Journal : Gr 7 Up—Jenna, 17, has remade herself. She's lost weight, is invited to social events, likes her alternative high school, and even has a boyfriend. In vivid detail, she recalls the bittersweet events of her earlier life. One of the few non-Mormons in her Salt Lake City grade school, she was a social pariah with only one friend, a boy named Cameron, another outcast. Readers are given fleeting glimpses of happy memories as well as the horrific traumas of their past, including a devastating experience with Cameron's cruel and abusive father and Jenna's belief that Cameron moved away and then died. When he reappears during her senior year, she reassesses her situation—and the person whom she has become—and realizes that the strength of her relationship with her friend spans time and makes her current relationships seem trivial. Zarr's sophisticated writing style, bouncing back and forth in time, teasing readers with further details, is wonderful. The main characters, and their unique bond, are well drawn and believable. Jenna struggles to see the child she was more clearly, to find a way to integrate her past into her present and to work toward self-acceptance. Despite its title, Sweethearts is not saccharine; it is substantial.—Leah Krippner, Harlem High School, Machesney Park, IL

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School Library Journal : Gr 9 Up—Aronson and Campbell have collected an outstanding array of essays, interviews, blog posts, articles, song lyrics, short stories, and letters from people directly involved in war. The book is broken into sections called "Deciding About War," "Experiencing War," and "The Aftermath of War." A former soldier writes an open letter to young enlistees, hoping they will scrutinize their reasons for joining up. The U.S. military recruitment contract is minutely examined by a high school social studies teacher. World War II reporter Ernie Pyle's articles on D-Day are reprinted. An essay about women soldiers who served in Iraq is excerpted from Helen Benedict's forthcoming book, The Lonely Soldier. And a memoir by poet Fumiko Miura, survivor of the atomic bomb at Nagasaki, is included. The volume closes with a short play and a short story about the aftereffects of war. The editors make it plain that they are antiwar, but they have made an effort to convey a variety of experiences. Overall, however, war is shown to be brutal, life-changing (not for the better), and ongoing. Aronson notes that humans have gone to war for all of recorded history and show no signs of stopping now. Many books about war for young people make it seem glamorous, exciting, and noble. This powerful collection shows its inglorious, perhaps more realistic side.—Geri Diorio, The Ridgefield Library, CT

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School Library Journal : Starred Review. Gr 9 Up–Every so often a book comes along that surpasses expectations, taking readers on an inspirational voyage that they don't want to leave. This is one such book. Each page is a feast for the eyes with beautiful full-page collages of photographs, watercolors, ink drawings, and text, resulting in a gorgeous volume that explores and encourages writing in a combination of ways. The author challenges readers with philosophical questions to ponder, such as What is an image? Where are they found? Can we remember something we can't imagine? The volume also acts as a workbook that successfully encourages teens to explore their own creativity through writing. In addition, autobiographical glimpses of Barry's journey from childhood to adulthood appear throughout the book. The struggles and obstacles she faces while following her path of becoming an artist and writer allow readers to believe in the possibility of writing themselves. This stunning book will appeal to those teens who are interested in delving into their creativity through words and art. The questions posed and valuable exercises that exist within its pages, along with the illustrations, could also make this book a valuable tool for English and art teachers in the classroom.–Lara McAllister, Halifax Public Libraries, Nova Scotia

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School Library Journal : Gr 9 Up—Often, popular knowledge of Cuba begins and ends with late-20th-century textbook fare: the Cuban Revolution, the Cuban Missile Crisis, and Fidel Castro. The Surrender Tree, however, transports readers to another, though no less tumultuous, era. Spanning the years 1850–1899, Engle's poems construct a narrative woven around the nation's Wars for Independence. The poems are told in alternating voices, though predominantly by Rosa, a "freed" slave and natural healer destined to a life on the lam in the island' s wild interior. Other narrators include Teniente Muerte, or Lieutenant Death, the son of a slave hunter turned ruthless soldier; José, Rosa's husband and partner in healing; and Silvia, an escapee from one of Cuba's reconcentration camps. The Surrender Tree is hauntingly beautiful, revealing pieces of Cuba's troubled past through the poetry of hidden moments such as the glimpse of a woman shuttling children through a cave roof for Rosa's care or the snapshot of runaway Chinese slaves catching a crocodile to eat. Though the narrative feels somewhat repetitive in its first third, one comes to realize it is merely symbolic of the unending cycle of war and the necessity for Rosa and other freed slaves to flee domesticity each time a new conflict begins. Aside from its considerable stand-alone merit, this book, when paired with Engle's The Poet Slave of Cuba: A Biography of Juan Francisco Manzano (Holt, 2006), delivers endless possibilities for discussion about poetry, colonialism, slavery, and American foreign policy.—Jill Heritage Maza, Greenwich High School, CT

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School Library Journal : Starred Review. Gr 5–9—This biography covers enough of Samuel Clemens's youth for readers to appreciate how autobiographical Twain's later novels were, but the seven years that the writer spent meandering the Wild West are at the heart of the book. Fleischman chronicles Clemens's various bouts of gold fever and get-rich-quick schemes in the Nevada Territory and the San Francisco area, but shows that it was always his newspaper writing that provided stability. At age 30, Clemens was reborn as Mark Twain when his short story "The Celebrated Jumping Frog of Calaveras County" was accepted by a magazine and drew popular acclaim. An "Afterstory" provides brief information on Twain's subsequent marriage and the publication of the novels for which he is most famous. Although similar in scope to Kathryn Lasky's A Brilliant Streak: The Making of Mark Twain (Harcourt, 1998), Fleischman's account is more engaging as he slips easily into Twain's drawling cadences. The illustrations and photographs are rich and varied, and the back matter is a work of art in itself: the time line, annotated bibliography, and references will prove useful to report writers, and the inclusion of "The Celebrated Jumping Frog…" is an extra treat.—Kim Dare, Fairfax County Public Schools, VA

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School Library Journal : Starred Review. Gr 9 Up—Kuklin tells five stories here; four are about young men who committed murder before they reached the age of 18, and one is the story of a victim's family. Each narrative presents a picture of a troubled youth who did something he later regretted, but something that could not be undone. Within these deftly painted portraits, readers also see individuals who have grown beyond the adolescents who committed the crimes. They see compassion, remorse, and lives wasted within the penal system. Some of the stories tell of poverty and life on the streets, but others are stories of young men with strong, loving families. One even asks readers not to blame his family for his act of violence. Most of the book is written in the words of the men Kuklin interviewed. Their views are compelling; they are our neighbors, our nephews, our friends' children, familiar in many ways, but unknowable in others. Kuklin depicts the penal system as biased against men of color, and any set of statistics about incarceration and death-row conviction rates will back her up. She also emphasizes that being poor is damning once a crime is committed. She finally introduces Bryan Stevenson, a lawyer who has worked on the cases of two of the interviewees, who talks about his efforts to help those who are on death row. This powerful book should be explored and discussed in high schools all across our country.—Wendy Smith-D'Arezzo, Loyola College, Baltimore, MD

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School Library Journal : Starred Review. Gr 6 Up—D'Aluisio and Menzel have adapted their Hungry Planet (Ten Speed, 2005) for younger readers in this visually stunning photographic collection that portrays families from 21 countries, each surrounded by a week's worth of food. Each entry includes a detailed list of the groceries with the equivalent cost in U.S. dollars, notes on methods of food preparation and preservation, fast facts about the country, and an engaging article discussing the family members, their lifestyles and employment, health issues, and food traditions and sources, enhanced by "Photographer's Field Note" and "Family Recipe" sidebars. Bright color photographs in varying sizes depict the wide array of kitchens, markets, and homes found in the cross-section of countries. The juxtaposition of the Aboubakar family of six, living in a refugee camp in Chad on $1.22 a week, and the Revis family of four in North Carolina, spending $341.98 a week on groceries, is jaw-dropping, although the author carefully avoids drawing any judgments about the subjects' choices or circumstances. Additional chapters, scattered through the alphabetical-by-country arrangement, include statistics on population, life expectancy, literacy and fertility rates, access to safe water, and obesity. A fascinating volume for browsing, What the World Eats will be useful for students in classes ranging from world cultures to economics to math to geography to current events.—Joyce Adams Burner, Hillcrest Library, Prairie Village, KS

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School Library Journal : Gr 7 Up–This book is true in spirit to Thoreau's writings and to underground comics. It is fairly linear, using short quotes and simple line drawings to tell of the time the philosopher spent at Walden Pond. Porcellino chose many well-known sayings and events and placed them within a spare visual context–the woods are little more than gray shading, Thoreau himself a few smooth lines in the foreground. Despite its simple design, or more likely because of it, Thoreau's sometimes-difficult philosophical statements are clearly articulated. Best known for his cry of simplify, simplify, simplify, the philosopher's ideas are well served by Porcellino's lean interpretation of the work of this seminal American icon.–Steev Baker, Kewaskum Public Library, WI

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School Library Journal : Gr 6 Up—This biography is a reworking of the best-selling Mockingbird (Holt, 2006), adapted for young adults. Shields spotlights Lee's lifelong friendship with Truman Capote and the creation of To Kill a Mockingbird, showing how the publication and success of that book affected the rest of her life. Shields uses previously conducted interviews with Lee and her family, friends, and neighbors. He pulls from books, magazine articles, newspapers, and radio and television interviews to piece together this life story of the notoriously press-shy Lee. The author's clear and appealing style is much the same as in Mockingbird and this adaptation appears to have been not so much edited as streamlined. Photos include Lee, her family, friends, and the famous Hollywood actors who made the film version of her book. I Am Scout moves along at a good pace, and Lee's quiet life makes for a surprisingly fascinating read. Perhaps because Shields is pulling from so many sources, the occasional turn of phrase comes across as oddly formal, but generally, this is an immensely readable, intriguing tale of a quiet, private author.—Geri Diorio, The Ridgefield Library, CT

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School Library Journal : Starred Review. Gr 8 Up—In this fictionalized memoir, Weatherford has composed nearly 100 first-person narrative poems that detail Holiday's life from birth until age 25, the age at which she debuted her signature song, "Strange Fruit." The poems borrow their titles from Holiday's songs, a brilliant device that provides readers with a haunting built-in sound track. Weatherford's language is straightforward and accessible—almost conversational. She captures the woman's jazzy, candid voice so adroitly that at times the poems seem like they could have been lifted wholesale from Holiday's autobiography, Lady Sings the Blues. Cooper's sepia-toned, nostalgic, mixed-media illustrations provide an emotional counterpoint to the text. Resembling old photographs seen through a lens of aching hindsight, they make explicit the pain that Weatherford studiously avoids giving full voice to in her poems. Although Holiday's early life was one of relentless rejection, discrimination, and poverty, the author stays true to her subject and maintains a resolute and defiant tone, albeit one tinged with regret. Prostitution, rape, jail time, and violence are mentioned, but the book ends on the proverbial high note, before the singer's drug use, alcoholism, and early death. This captivating title places readers solidly into Holiday's world, and is suitable for independent reading as well as a variety of classroom uses.—Paula Willey, Baltimore County Public Library, Towson, MD

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Library Journal : Starred Review. This spare but terrific book offers revealing photographs of both the star and the lesser-known Latino players, accompanied by concise, insightful text. Villegas's pictures (there are also archival images) show players in motion, along with fans and athletes in still frames. Wendel's narrative celebrates early icons like Luque and Dihigo and generational counterparts Minoso, Clemente, and Cepeda. The book mainly points to Cuban, Puerto Rican, Dominican, and Venezuelan stars. A useful time line is included. Highly recommended for general libraries.

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