Kirkus Seventeen-year-old Afro-Boricua Emoni Santiago hones her gift for cooking and makes important decisions about her future.Emoni's 'Buela says she's had a gift for cooking since she was small. Now Emoni has her own toddler, Emma ("The kind of name that doesn't tell you too much before you meet her, the way mine does"), nicknamed Babygirl. Emoni's first day of senior year at her Philadelphia high school is also Babygirl's first day of day care, leaving Emoni saddened about missing parts of her life. Emoni's a classic example of the school system's failure to harness many students' creativity and interests, but thankfully she discovers and enrolls in a new class called "Culinary Arts: Spain Immersion." Though the teacher, Chef Ayden, respects her, he's strict, and Emoni nearly drops the class, but eventually she gathers the ingredientsconnections and skillsshe'll need for success. A romance that doesn't fit the usual mold and a class trip to Spain round out this flavorful tale. Emoni occasionally breaks from first-person narration to address readers directly, and her voice and story feel fresh and contemporary. Diversity in representation is primarily racial and ethnic; however, Emoni's best friend Angelica is a lesbian. The short, precise prose chapters will draw in even reluctant readers, and the inclusion of several recipes adds to the appeal. Current pop-culture references and cultural relevance will attract both window and mirror readers. Sabroso. (Fiction. 14-adult) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book High school senior Emoni Santiago (an aspiring chef) and her two-year-old daughter live with Emoni's abuela. Emoni signs up for a culinary arts class that culminates in a trip to Spain--and she begins to see a path forward, if only she dares follow it. Acevedo creates beautifully realized characters with complex lives. A few recipes (such as "When Life Gives You Lemons, Make Lemon Verbena Tembleque") are interspersed. (c) Copyright 2019. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Gr 9 Up-The acclaimed author follows up her celebrated The Poet X with a love letter to food and a tribute to young, single mothers. Emoni Santiago is an Afro-Latinx high school senior in Philly who dreams up the most delectable concoctions, always mixing up tastes from her two cultures with a spice of her own. The news of a culinary arts course with a possible trip to Spain grabs her interest, but how will she juggle school, work, and taking care of her daughter? The young woman is barely balancing everything on her plate with the help of her talented best friend Angelica, 'Buela (her intractable grandmother), and occasional visits from her activist father (who moved to Puerto Rico after her mother's death). Acevedo populates her first prose novel with complex and unforgettable characters and turns the stereotype of "teen mom" on its head. Emoni has to deal with daycare drop-offs, custody issues, and making ends meet alongside college applications, budding romances, and the high school rumor mill. Realistic dialogue and vulnerable interior monologues about sex, loss, and insecurities will ring true with all adolescents. The author expertly weaves Spanglish, toddler mom worries, and culinary lingo and aptly evokes the Philly and Spain settings, immersing readers in Emoni's world. The novel's three parts are introduced by recipes created and perfected by the protagonist, and hints of Laura Esquivel's Like Water for Chocolate will leave teens hungry for more. VERDICT Acevedo's second serving offers a much-needed nuanced exploration of teen parenting that belongs on all shelves.-Shelley M. Diaz, BookOps: The New York Public Library and Brooklyn Public Library © Copyright 2019. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly In this stunning sophomore novel from National Book Award and Printz winner Acevedo (The Poet X), Afro-Puerto Rican and African-American Emoni Santiago, a high school senior, lives in Philadelphia with her two-year-old daughter, Emma-nicknamed Babygirl-and paternal grandmother, 'Buela. A talented cook, Emoni balances school, work at a local burger joint, and motherhood-including shared custody with her ex-boyfriend, Tyrone-with moments in the kitchen, where her "magical hands" create dishes that allow the eater to access deep, surprising memories. But she's not sure what to do with her passion, or after high school, until enrolling in a culinary arts elective helps her to hone her innate cooking skills in the classroom and during a hard-won weeklong apprenticeship in Spain. As she gains practice at leadership and fund-raising, she also cautiously develops a budding relationship with new student Malachi, a boy who respects Emoni's boundaries. Acevedo expertly develops Emoni's close female relationships, which are often conveyed through the sharing of food and recipes, and which shape and buoy Emoni's sense of her own direction and strength. With evocative, rhythmic prose and realistically rendered relationships and tensions, Acevedo's unvarnished depiction of young adulthood is at once universal and intensely specific. Ages 13-up. Agent: Ammi-Joan Paquette, Erin Murphy Literary Agency. (May) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Book list Acevedo has done it again: the multi-award-winning author of The Poet X (2018) here delivers perfection, from the cover art featuring a young Afro-Latina woman looking out, her curls picked up in a scarf, and kitchen staples framing her face, to Acevedo's keen, stirring prose that reads like poetry and demands to be read slowly. In a distinct, perceptive, and vulnerable first-person narrative, Emoni, a young single mom being raised by her grandmother while raising her own daughter, relates the story of her last year of high school in vignettes and short chapters, trading off between sharing bits of the story and her musings about her life and her future. Emoni has a gift for cooking, and her food, like magic, conjures emotions in people she shares it with. Her teachers, friends, and family are all ready to support her when the subject of culinary arts schooling comes up, but the one Emoni needs to learn to trust is herself. Acevedo compassionately challenges her readers with a wide variety of topics, including cultural and personal identity and the needs and desires of older women, something that is so often forgotten. Fittingly, for a book so deeply about food, she also includes Emoni's recipes. This sophomore novel is simply stunning. HIGH-DEMAND BACKSTORY: Acevedo's debut won a National Book Award and the Printz Award and her many fans will be salivating for this superb follow-up.--Kristina Pino Copyright 2019 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Book list In this charming, beautifully illustrated collection, arranged by season, Salas employs a form she calls riddle-ku, a first-person haiku that hints at the speaker, inviting readers to guess its identity, typically an object or being associated with a season. For example, Spring opens with I am a wind bird, / sky skipper, diamond dipper, / DANCING on your string, and López's accompanying illustration depicts a soaring, large, red, bird-shaped kite guided by a boy holding the string below. Summer showcases fireflies, baseball, and fireworks. Fall features a school building ( my first-day outfit / is fresh paint and polished floors / here come my new friends! ), apple picking, and jack-o'-lanterns, while Winter includes snow, ice skates, and a hibernating animal: In fur coat and cave / I exhale white clouds of breath, / DREAM of sun . . . green . . . spring. The eloquent language ranges from philosophical to whimsical, and that tone is reflected in the colorful acrylic paintings, which nicely combine realism and abstract touches and provide visual clues. An author's note offers the inspiration behind her riddle-ku, with encouragement for readers to create their own; an answer key; and a further-reading list. While the riddles' mystique may wane once little ones solve them, the wonderfully evocative, vivid imagery in text and art also make this a welcome addition for poetry classroom units.--Shelle Rosenfeld Copyright 2019 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus In this spirited collaboration, Salas and Lpez present 24 suggestive poetic snapshots chronicling the cycle of a year. Highlighting season-appropriate objects for spring, fall, summer, and winter, Salas magnifies the spareness of the haiku form by turning each concentrated first-person portrait into a riddle as she tantalizingly omits naming the subject describing itself. Meanwhile Lpez offers young and pre-readers florid visual hints, depicting in deft brush strokes and lush colors the author's hidden subjects. Combined, these artists render objects gentle as summer's fireflies ("fire in our bellies / we FLICKER-FLASH in twilight / rich meadow of stars") or winter's snowflakes ("I'm cold confetti / falling from a crystal sky, / blanketing the town," here shown as a white-roofed town in a snow globe painted against a wintry verdigris sky spackled with haphazard white blots) or bold as a fall jack-o'-lantern ("I perch on the porch, / spooky face frozen in place, / fire BURNING inside"glowering large with flaming orange eyes as the finger of a ghostly trick-or-treater rings the doorbell in the background). What sets this volume apart from similar haiku explorations of the seasons is the tight synthesis of visual object and oblique verbal depiction, making for both wonderfully contemplative experiences of each illustrated poem and the seamless progression of nature's cycle through the year.Richly rewarding and clever: a visually arresting, inventive treatment of a popular subject. (Picture book/poetry. 5-10) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly Organized in four sections beginning with spring, Salas's lovely haiku are written in the voices of animals and organic or inanimate objects related to the seasons. "Fire in our bellies,/ we FLICKER-FLASH in twilight-/ rich meadow of stars," speak the summer's fireflies. Each haiku contains a riddle element-readers must guess the narrator (in an author's note, Salas refers to the form as a "riddle-ku"). It's not always clear who, or what, is speaking, but LA3pez's evocative acrylics visually communicate the imagery within the poems. "I'm a WRIGGLING tube,/ soft underground tunneler-/ I fear early birds," one announces. The small bird hovering over a hole clues readers in to the speaker's identity: a worm. The book's meditative tone and resonant images invite readers to embrace new ways of seeing the world around them. Ages 5-9. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book Divided into four sections by season, these "riddle-ku" poems use innovative language to represent something traditionally associated with each one. (For back-to-school in fall, for example: what is "a yellow train / carrying thoughts from your brain / to the waiting page?" A pencil.) In addition to helping readers solve the puzzles, the supporting acrylic and digital illustrations capture movement and texture through strong lines and seasonal hues. (c) Copyright 2019. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Gr 1-4-A sleek bird kite flown by a child in springtime kicks off this poetic collection of seasonal objects, animals, and activities. Six poems per season invite audience observation and enjoyment. First-time readers may not realize that each haiku is also a riddle with a list of answers found at the end of the book. Only in her concluding author's note does Salas describe the structure she calls "riddle-ku." Readers are meant to guess the identity of the non-human narrator in each poem. She also notes that the non-human voices make these "mask poems." Simple instructions then encourage readers to compose their own riddle-ku. The expansive acrylic scenes featuring children, animals and/or objects offer visual cues about the narrators. For instance, the leaves talk as a child happily bounces in a pile of them. Salas often sets a playful tone and is adept with language. Her diction and syntax are simple and fun. Paired with other seasonal materials, this book offers ample discussion and teaching opportunities with individual readers or groups. VERDICT This well-crafted work contains versatile possibilities for classrooms and libraries.-Margaret Bush, Simmons College, Boston © Copyright 2019. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Copyright 2003 Reed Business Information, Inc. Distributed by Syndetic Solutions Inc. Terms

School Library Journal : K-Gr 6-As this story opens, French funambulist Philippe Petit is dancing across a tightrope tied between two trees to the delight of the passersby in Lower Manhattan. Gerstein places him in the middle of a balancing act, framed by the two unfinished World Trade Center towers when the idea hits: "He looked not at the towers, but at the space between them and thought, what a wonderful place to stretch a rope-." On August 7, 1974, Petit and three friends, posing as construction workers, began their evening ascent from the elevators to the remaining stairs with a 440-pound cable and equipment, prepared to carry out their clever but dangerous scheme to secure the wire. The pacing of the narrative is as masterful as the placement and quality of the oil-and-ink paintings. The interplay of a single sentence or view with a sequence of thoughts or panels builds to a riveting climax. A small, framed close-up of Petit's foot on the wire yields to two three-page foldouts of the walk. One captures his progress from above, the other from the perspective of a pedestrian. The vertiginous views paint the New York skyline in twinkling starlight and at breathtaking sunrise. Gerstein captures his subject's incredible determination, profound skill, and sheer joy. The final scene depicts transparent, cloud-filled skyscrapers, a man in their midst. With its graceful majesty and mythic overtones, this unique and uplifting book is at once a portrait of a larger-than-life individual and a memorial to the towers and the lives associated with them.-Wendy Lukehart, Washington DC Public Library

Copyright 2003 Reed Business Information, Inc. Distributed by Syndetic Solutions Inc. Terms

Book list Celebrated YA novelist Green's second nonfiction title for adults, following The Anthropocene Reviewed (2021), is a passionate book about tuberculosis, which is “listed in Guinness World Records as the oldest contagious disease.” In the last 200 years, over a billion people have died from it; between one-fourth and one-third of all living humans have been infected with it. These staggering statistics and more haunt Green's excellent book, which began with a trip to Sierra Leone in 2019 and a visit to Lakka, a tuberculosis hospital where Green met Henry Reider, a 17-year-old infected with TB. Henry becomes for readers the face of TB as Green periodically charts his condition in these pages. When Green returned home from Sierra Leone, he became obsessed with TB: “I simply could not shut up about the disease.” This important book is evidence of that. Green writes expertly of the illness’s history, causes (malnutrition, poverty, bad sanitation, etc.), and cure—and of Henry’s miraculous recovery. Insightful and extremely well and clearly written, Everything Is Tuberculosis makes what might be inaccessible accessible. In the end, Green says that his book exists only because he met Henry, and readers will be so grateful he did.HIGH-DEMAND BACKSTORY: Every book from John Green is a big deal, and the important topic and global implications of this one ensure it will make major waves.

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus A bestselling author uses his platform to tell the story of a curable disease that kills over a million people a year. In a postscript that is essentially a sweet apologia, Green explains, “If you’d told me whenThe Fault in Our Stars was published that a decade later, I’d be writing and thinking almost exclusively about tuberculosis, I would have responded, ‘Is that still a thing?’” Many readers likely remain under the same illusion. But after Green met a very sick boy named Henry Reider on a trip to Sierra Leone in 2019, he decided to apply himself to the task of learning and sharing every single thing there is to know about tuberculosis, ultimately understanding that the disease still exists due to racism, greed, and the brutal economics of public health, concluding in part that “TB is both a form and expression of injustice.” He parcels out the frightening story of what happened to Henry bit by bit through chapters that also recount the long, strange history of the disease. Once known as consumption and romanticized through association with artists and writers who died of it, for centuries TB was treated with a variety of utterly ineffective approaches in sanatoriums and elsewhere. A young American woman who had been confined in one such institution since the age of 3 was treated with some of the first doses of streptomycin when it became available in the 1940s—and emerged back into the world of the living at 16. Along with interesting accounts of historical figures and current patients, Green explores the financial aspects of treatment and the practices of the pharmaceutical industry, bringing home the shameful truth of the situation. In all, his “curious megaphone”—his phrase for the access he has to a wide audience due to his literary stardom—has been put to good use. This highly readable call to action could not be more timely. Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal An enlightening exploration of the history and present-day reality of tuberculosis around the world. This narrative nonfiction title follows the journey of one TB patient, Henry, and his life and treatment in Sierra Leone while simultaneously shedding light on the battle against tuberculosis in impoverished countries. While tuberculosis is considered history to many, Green shares the alarming fact that due to many factors beyond the control of sufferers, over a million people die each year because they don't have access to the best possible treatments and diagnostic testing. Green skillfully sparks readers' curiosity within the first pages by discussing the number of deaths TB has caused in recent years and explains, "We know how to live in a world without tuberculosis. But we choose not to live in that world." Readers will be shocked to hear the impact TB still has around the world when in places like the U.S., most people think tuberculosis is a part of the past. Henry's story is hopeful and heartbreaking; readers will be rooting for him and his family the whole way through. The author includes much about his relationship with Henry, but also of his own life experiences with medications, OCD, and his treatment of orbital cellulitis which contributes helpful comparisons to the narrative. While medical nonfiction titles can be difficult for the average reader, Green explains ideas and terminology simply to ensure comprehension for readers. VERDICT This is a thought-provoking work and highly recommended for high school collections.—Lisa Buffi

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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

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. Distributed by Syndetic Solutions Inc. Terms

Copyright 2003 Reed Business Information, Inc. Distributed by Syndetic Solutions Inc. Terms

School Library Journal : Adult/High School-Frey's high school and college years are a blur of alcohol and drugs, culminating in a full-fledged crack addiction at age 23. As the book begins, his fed-up friends have convinced an airline to let him on the plane and shipped him off to his parents, who promptly put him in Hazelden, the rehabilitation clinic with the greatest success rate, 20 percent. Frey doesn't shy away from the gory details of addiction and recovery; all of the bodily fluids make major appearances here. What really separates this title from other rehab memoirs, apart from the author's young age, is his literary prowess. He doesn't rely on traditional indentation, punctuation, or capitalization, which adds to the nearly poetic, impressionistic detail of parts of the story. Readers cannot help but feel his sickness, pain, and anger, which is evident through his language. Ken Kesey's One Flew over the Cuckoo's Nest (Viking, 1962) seems an apt comparison for this work-Frey maintains his principles and does not respect authority at all if it doesn't follow his beliefs. And fellow addicts are as much, if not more, help to him than the clinicians who are trying to preach the 12 steps, which he does not intend to follow in his path to sobriety. This book is highly recommended for teens interested in the darker side of human existence.-Jamie Watson, Enoch Pratt Free Library, Baltimore

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