Book list *Starred Review* Award-winning author Shusterman returns to realistic fiction with a breathtaking exploration of one teen's experience with schizophrenia. Caden Bosch thinks there is somebody at his high school who wants to kill him. But that's not all. There are things happening outside of the typical space and time constraints that he can't understand. He feels at once all-powerful and frighteningly powerless. Caden slowly drifts away from friends and family and deeper into his mind, until his parents admit him to a mental hospital for further evaluation and treatment. Shusterman beautifully deploys dual narratives that become increasingly intertwined in this remarkable story. In addition to the grounded-in-reality narrative, he introduces another world, where Caden is out at sea with the Captain, a girl named Calliope, a parrot, and more. All of these characters eventually match real-world counterparts in the hospital and beyond. In confessional back matter, Shusterman explains his inspiration for this powerful story: his own son Brendan's experience in the depths of mental illness. Brendan Shusterman's illustrations, interspersed throughout, contribute significantly to the reading experience. With the increasing demand for understanding mental illness, this is a must-purchase for library collections. Haunting, unforgettable, and life affirming all at once. HIGH-DEMAND BACKSTORY: An author tour and powerhouse promotional plan will mean lots of attention for best-selling Shusterman's latest endeavor.--Barnes, Jennifer Copyright 2015 Booklist

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

Kirkus Fantasy becomes reality in an exploration of mental illness based partly on the experiences of the author's son, who is also the book's illustrator. For 14-year-old Caden Bosch, his gradual descent into schizophrenia is a quest to reach the bottom of Challenger Deep, the deepest place on Earth. In an internal reality that's superimposed over Caden's real lifewhere his behavior slips from anxiety to hearing voices and compulsively obeying signagean Ahab-like captain promises riches in exchange for allegiance, while his parrot urges mutiny for a chance at life ashore. Shusterman unmoors readers with his constant use of present tense and lack of transitions, but Caden's nautical hallucination-turned-subplot becomes clearer once his parents commit him to Seaview Hospital's psychiatric unit with its idiosyncratic crew of patients and staff. However, Caden's disorientation and others' unease also make the story chillingly real. Except in the heights of Caden's delusions, nothing is romanticizedjust off-kilter enough to show how easily unreality acquires its own logic and wit. The illustrator, who has struggled with mental illness himself, charts the journey with abstract line drawings that convey Caden's illness as well as his insight. When the depths are revealed with a dream-logic twist and Caden chooses an allegiance, the sea becomes a fine metaphor for a mind: amorphous and tumultuous but ultimately navigable. An adventure in perspective as well as plot, this unusual foray into schizophrenia should leave readers with a deeper understanding of the condition. (author's note) (Fiction. 14 up) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly With lyricism and potent insight, Shusterman (Unwind) traces the schizophrenic descent and return of Caden Bosch, an intelligent 15-year-old and a gifted artist. His internal narratives are sometimes dreams, sometimes hallucinations, and sometimes undefinable, dominated by a galleon and its captain, sailing with an enormous, sullen crew to the deepest point of the Marianas Trench, Challenger Deep. The metaphor's not exactly subtle, but Shusterman finds unexpected resonance in its details-the tarry seams in the wood, the human ballast. External reality still registers: people around Caden run the gamut of humor, scolding, threats, and avoidance to pressure him into changing behavior he no longer controls. Shusterman has mined personal experience of mental illness with his son Brendan, whose line drawings mirror Caden's fragmentation in swirling lines eerily reminiscent of Van Gogh. It's a powerful collaboration, and crucial to the novel's credibility. As Caden says, "There is no such thing as a 'correct' diagnosis," and though his story doesn't necessarily represent a "typical" experience of mental illness, it turns symptoms into lived reality in ways readers won't easily forget. Ages 14-up. Agent: Andrea Brown, Andrea Brown Literary Agency. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

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School Library Journal Gr 9 Up-Caden Bosch lives in two worlds. One is his real life with his family, his friends, and high school. There he is paranoid for no reason, thinks people are trying to kill him, and demonstrates obsessive compulsive behaviors. In his other world, he's part of the crew for a pirate captain on a voyage to the Challenger Deep, the ocean's deepest trench. There he's paranoid, wary of the mercurial captain and his mutinous parrot, and tries hard to interpret the mutterings of his fellow shipmates as they sail uncharted waters toward unknown dangers. Slowly, Caden's fantasy and paranoia begin to take over, until his parents have only one choice left. Shusterman's latest novel gives readers a look at teen mental illness from inside the mind of Caden Bosch. He is a credible and sympathetic character, and his retreat into his own flawed mind is fascinating, full of riddles and surrealism. Shusterman based the novel on his son's mental illness, and Brendan's input regarding his diagnosis of schizoaffective disorder and psychiatric care makes the novel ring true. Teens, especially fans of the author's other novels, will enjoy this book. VERDICT This affecting deep dive into the mind of a schizophrenic will captivate readers, engender empathy for those with mental illnesses, and offer much fodder for discussion.-Heather Miller Cover, Homewood Public Library, AL (c) Copyright 2015. 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.

Horn Book The surreal fantasies of fifteen-year-old Caden Bosch commingle with more comprehensible accounts of family and school, until his parents have him admitted to a psychiatric ward. The disorientation Shusterman evokes through the first-person narration is an apt, effective way to bring readers into nightmarish anxiety and despair--and out of it. The novel is moving, but it's also funny, with dry, insightful humor. (c) Copyright 2015. 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.

Kirkus As with Wenzel's Caldecott Honor-winning They All Saw a Cat (2016), this picture book plays with perspective to examine characteristics of one objecta stoneas it is experienced by a multitude of creatures.When a sea gull perches atop the stone to crack open a clam, it is "loud." When a snake curls upon it to rest in the sun, it is "quiet." But no matter what, the stone "was as it was / where it was in the world." Wenzel's mixed-media illustrations use a muted color palette well suited to this presentation of the natural world. Readers experience the stone's sensory qualities through the text and its relationship with slightly anthropomorphized animals. In the dark, the stone is "a feel," as curious-looking raccoons know it through their paws, while it's "a smell," lit up in vibrant colors, to a hunting coyote, who sniffs the scents of the creatures who have previously passed. The book's only misstep is the addition of three unnecessary spreads at the end that directly ask readers if they've "ever known such a place?" Coming as they do after text that reads, "and the stone was always," these spreads cannot help but feel anticlimactic. A gentle celebration of sameness and change. (Picture book. 4-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal K-Gr 4—Wenzel scores another hit with this engaging and though-provoking companion to They All Saw a Cat. "A stone sat still/with the water, grass, and dirt/and it was as it was/where it was in the world." Lyrical text, stunning mixed-media artwork, and cleverly shifting perspectives reveal how this object is at once static and ever-changing, predictable yet filled with possibility, seemingly eternal yet somehow vulnerable. The stone is "dark" when swathed in shadow, and "bright" when bathed in moonlight. It's "loud" when a seagull uses it to break apart a clam, and "quiet" when a snake sits curled atop; "rough" (compared to a slug) and "smooth" (compared to a porcupine); a "pebble" to a moose, and a "hill" to a tiny insect. As various animals discover, the stone is "a danger," "a haven,' "a story," "a stage," and so much more. Detail-packed illustrations work closely with the text to eloquently convey this sedentary stone's role in its surrounding biome. Observant readers will notice that the water levels surrounding the stone are rising, which becomes first "an island," then "a wave," then "a memory" as it disappears beneath the surface, continuing to sit "still in the world" surrounded by seaweed and sea creatures. VERDICT Showcasing at-a-glimpse activities of an array of animals, this book offers small stories to pore over as well as bigger ideas to ponder, including the influence of viewpoint, the relationship between wildlife and habitat, the impact of environmental issues, and the vagaries of time.—Joy Fleishhacker, Pikes Peak Library District, Colorado Springs

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Publishers Weekly As in They All Saw a Cat, Wenzel's poem focuses on how point of view affects experience. This time, his subject is a humble stone: "A stone sat still/ with the water, grass, and dirt,/ and it was as it was/ where it was in the world." In each spread or vignette, a different wild creature encounters the round rock. A wide-eyed chipmunk perches on it as the sun casts it in shadow ("and the stone was dark"); at night, an owl peers at it lit by the moon ("and the stone was bright"). After a gull breaks a clam on its surface ("and the stone was loud"), a snake sunbathes there ("and the stone was quiet"). Animals witness it turning different seasonal hues and encounter it variably as smooth and rough, large and small, "a blink" and "an age." Alert readers will notice that the water beneath the stone rises as the pages turn-eventually, great waves overtake it in spreads that reveal a vast expanse of silvery water. But the stone isn't gone: under the waves, it "sits still in the world," a small snail upon it. "Have you ever seen such a place?" Wenzel asks. Look closely, his words say: even the most seemingly insignificant bits of Earth offer splendor. The wonderful mixed-media creatures and their encounters entertain, while bigger ideas suggest all kinds of conversations about perception and perspective, wildlife and habitat, local and global change, and eternity and evanescence. Ages 3-5. Agent: Steven Malk, Writers House. (Aug.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Book list What at first may seem like a retread of 2016's Caldecott Honor Book They All Saw a Cat takes the beautifully proven concept and elevates it to awe-inspiring heights as, by broadening the scope yet still focusing on the little moments it contemplates infinity. Wenzel's text sets a steady beat: A stone sat still / with the water, grass, and dirt / and it was as it was / where it was in the world. Each spread observes the same small boulder, impressionistically depicted through a specific animal's perspective. Wenzel's familiar mixed-media style is sometimes placid and picturesque; other times, it's active and intense; but it always holds to the purposes of poetry, tone, and science. Every image offers interaction, whether through interpretation of the animal's relationship to the stone or through revelation of the secrets hidden within the layered artwork. Periodically, a visual refrain returns us to a snail that makes its way, bit by bit, over the stone. For it, the stone was an age, and as the book progresses, the passage of time brings steadily rising waters. In the end, the stone becomes an island and then a wave, and finally, to an owl soaring over the sea-flooded world, the stone was a memory. Yet on the ocean floor, where the stone still sits, another snail begins its journey.--Ronny Khuri Copyright 2019 Booklist

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

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Kirkus Longtime ABC news correspondent Raddatz chronicles ordinary people in extraordinary circumstances. Heroes, it’s said, are the people who run toward danger instead of away from it. To this Raddatz rejoins, “The one sure way to spot a hero may be to look for the ones who insist they are not.” In this series of portraits of such heroes, most connected to the “forever wars” in Iraq and Afghanistan, she finds plenty to admire, even as those men and women protest that “I was just doing my job” and “It wasn’t me alone.” One of her subjects, for instance, is a veteran of a “pararescue jumper” unit whose job it was to evacuate wounded soldiers from the battlefield, “often under the most dangerous conditions imaginable.” Each operation in the field put him at terrible risk, and perhaps none more so than the rescue of an officer who had suffered a bullet to the head and a fall from a cliff—just one of 13 missions the team ran that day. Later, the rescuer sought out the rescued to check on his progress, and a great friendship formed. Friendship and comradeship is a constant theme: In another portrait, four survivors of a bloody ambush in Iraq form a lifelong bond after having all experienced the bewildering transition from military to civilian life: “I’m just another dude walking down the street, trying to pay his fucking bills.” Not all of Raddatz’s heroes are combatants: One is a neurosurgeon who, after three decades of treating head wounds in field hospitals, is now volunteering his services in Ukraine. Heroic in their own way, too, are the mothers of soldiers grievously wounded in battle, doing their best to help their children recover, and the ordinary people who volunteer their time and resources to staff suicide hotlines, donate medical supplies, and counsel other veterans on the road to recovery. Inspiring profiles in courage for our time. Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

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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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