Publishers Weekly : Economist Levitt and journalist Dubner capitalize on their megaselling Freakonomics with another effort to make the dismal science go gonzo. Freaky topics include the oldest profession (hookers charge less nowadays because the sexual revolution has produced so much free competition), money-hungry monkeys (yep, that involves prostitution, too) and the dunderheadedness of Al Gore. There&'s not much substance to the authors&' project of applying economics to all of life. Their method is to notice some contrarian statistic (adult seat belts are as effective as child-safety seats in preventing car-crash fatalities in children older than two), turn it into economics by tacking on a perfunctory cost-benefit analysis (seat belts are cheaper and more convenient) and append a libertarian sermonette (governments tend to prefer the costly-and-cumbersome route). The point of these lessons is to bolster the economist&'s view of people as rational actors, altruism as an illusion and government regulation as a folly of unintended consequences. The intellectual content is pretty thin, but it&'s spiked with the crowd-pleasing provocations—'A pimp&'s services are considerably more valuable than a realtor&'s&' —that spell bestseller. (Nov.)

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Publishers Weekly: Starred Review. Two-time Caldecott winner Wiesner (Tuesday; The Three Pigs) crafts another wordless mystery, this one set on an ordinary beach and under an enchanted sea. A saucerlike fish's eye stares from the exact center of the dust jacket, and the fish's scarlet skin provides a knockout background color. First-timers might not notice what's reflected in its eye, but return visitors will: it's a boxy camera, drifting underwater with a school of slim green fish. In the opening panels, Wiesner pictures another close-up eye, this one belonging to a blond boy viewing a crab through a magnifying glass. Visual devices—binoculars and a microscope in a plastic bag—rest on a nearby beach towel, suggesting the boy's optical curiosity. After being tossed by a wave, the studious boy finds a barnacle-covered apparatus on the sand (evocatively labeled the "Melville Underwater Camera"). He removes its roll of film and, when he gets the results, readers see another close-up of his wide-open, astonished eye: the photos depict bizarre undersea scenes (nautilus shells with cutout windows, walking starfish-islands, octopi in their living room à la Tuesday's frogs). A lesser fantasist would end the story here, but Wiesner provides a further surprise that connects the curious boy with others like him. Masterfully altering the pace with panel sequences and full-bleed spreads, he fills every inch of the pages with intricate, imaginative watercolor details. New details swim into focus with every rereading of this immensely satisfying excursion. Ages 5-8. (Sept.)

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School Library Journal: Starred Review. K-Gr 4–A wave deposits an old-fashioned contraption at the feet of an inquisitive young beachcomber. It’s a “Melville underwater camera,â€� and the excited boy quickly develops the film he finds inside. The photos are amazing: a windup fish, with intricate gears and screwed-on panels, appears in a school with its living counterparts; a fully inflated puffer, outfitted as a hot-air balloon, sails above the water; miniature green aliens kowtow to dour-faced sea horses; and more. The last print depicts a girl, holding a photo of a boy, and so on. As the images become smaller, the protagonist views them through his magnifying glass and then his microscope. The chain of children continues back through time, ending with a sepia image of a turn-of-the-20th-century boy waving from a beach. After photographing himself holding the print, the youngster tosses the camera back into the ocean, where it makes its way to its next recipient. This wordless book’s vivid watercolor paintings have a crisp realism that anchors the elements of fantasy. Shifting perspectives, from close-ups to landscape views, and a layout incorporating broad spreads and boxed sequences, add drama and motion to the storytelling and echo the photographic theme. Filled with inventive details and delightful twists, each snapshot is a tale waiting to be told. Pair this visual adventure with Wiesner’s other works, Chris Van Allsburg’s titles, or Barbara Lehman’s The Red Book (Houghton, 2004) for a mind-bending journey of imagination.–Joy Fleishhacker, School Library Journal

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School Library Journal : Gr 4-7--A ruthless villain known as Weasel commits unspeakable atrocities in the frontier wilderness. When 12-year-old Nathan's family is victimized, the boy is determined to avenge the wrongs on his own. A masterfully told, riveting tale sure to inspire strong discussion about moral choices.

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School Library Journal : Gr 4-7--A ruthless villain known as Weasel commits unspeakable atrocities in the frontier wilderness. When 12-year-old Nathan's family is victimized, the boy is determined to avenge the wrongs on his own. A masterfully told, riveting tale sure to inspire strong discussion about moral choices.

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School Library Journal : Gr 4-7--A ruthless villain known as Weasel commits unspeakable atrocities in the frontier wilderness. When 12-year-old Nathan's family is victimized, the boy is determined to avenge the wrongs on his own. A masterfully told, riveting tale sure to inspire strong discussion about moral choices.

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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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Publishers Weekly: In the small set of America's best contemporary novelists, Vollmann is the perpetual comet. Every two years or so he flashes across the sky with another incredibly learned, incredibly written, incredibly long novel. Two years ago, with Argall, he easily bested John Barth in the writing of 17th-century prose while taking up the tired story of the settlement of Jamestown and making it absolutely riveting. His latest departs from his usual themes—the borders between natives and Westerners, or prostitutes and johns—to take on Central Europe in the 20th century. "The winged figures on the bridges of Berlin are now mostly flown, for certain things went wrong in Europe...." What went wrong is captured in profiles of real persons (Kathe Kollwitz, Kurt Gerstein, Dmitri Shostakovich, General Paulus and General Vlasov) as well as mythic personages (a shape-shifting Nazi communications officer and creatures from the German mythology Wagner incorporated into his operas). Operation Barbarossa—the German advance into Russia in 1941, and the subsequent German defeat at Stalingrad and Kursk—is central here, with the prewar and postwar scenes radiating out from it, as though the war were primary, not the nations engaged in it. The strongest chapter is a retelling of Kurt Gerstein's life; Gerstein was the SS officer who tried to warn the world about the concentration camps while working as the SS supply agent for the gas chambers. The weakest sections of the book are devoted to the love triangle between Shostakovich, Elena Konstantinovskaya and film director Roman Karmen. Throughout, Vollman develops counternarratives to memorialize those millions who paid the penalties of history. Few American writers infuse their writing with similar urgency.

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Publishers Weekly: In the small set of America's best contemporary novelists, Vollmann is the perpetual comet. Every two years or so he flashes across the sky with another incredibly learned, incredibly written, incredibly long novel. Two years ago, with Argall, he easily bested John Barth in the writing of 17th-century prose while taking up the tired story of the settlement of Jamestown and making it absolutely riveting. His latest departs from his usual themes—the borders between natives and Westerners, or prostitutes and johns—to take on Central Europe in the 20th century. "The winged figures on the bridges of Berlin are now mostly flown, for certain things went wrong in Europe...." What went wrong is captured in profiles of real persons (Kathe Kollwitz, Kurt Gerstein, Dmitri Shostakovich, General Paulus and General Vlasov) as well as mythic personages (a shape-shifting Nazi communications officer and creatures from the German mythology Wagner incorporated into his operas). Operation Barbarossa—the German advance into Russia in 1941, and the subsequent German defeat at Stalingrad and Kursk—is central here, with the prewar and postwar scenes radiating out from it, as though the war were primary, not the nations engaged in it. The strongest chapter is a retelling of Kurt Gerstein's life; Gerstein was the SS officer who tried to warn the world about the concentration camps while working as the SS supply agent for the gas chambers. The weakest sections of the book are devoted to the love triangle between Shostakovich, Elena Konstantinovskaya and film director Roman Karmen. Throughout, Vollman develops counternarratives to memorialize those millions who paid the penalties of history. Few American writers infuse their writing with similar urgency.

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Publishers Weekly: In the small set of America's best contemporary novelists, Vollmann is the perpetual comet. Every two years or so he flashes across the sky with another incredibly learned, incredibly written, incredibly long novel. Two years ago, with Argall, he easily bested John Barth in the writing of 17th-century prose while taking up the tired story of the settlement of Jamestown and making it absolutely riveting. His latest departs from his usual themes—the borders between natives and Westerners, or prostitutes and johns—to take on Central Europe in the 20th century. "The winged figures on the bridges of Berlin are now mostly flown, for certain things went wrong in Europe...." What went wrong is captured in profiles of real persons (Kathe Kollwitz, Kurt Gerstein, Dmitri Shostakovich, General Paulus and General Vlasov) as well as mythic personages (a shape-shifting Nazi communications officer and creatures from the German mythology Wagner incorporated into his operas). Operation Barbarossa—the German advance into Russia in 1941, and the subsequent German defeat at Stalingrad and Kursk—is central here, with the prewar and postwar scenes radiating out from it, as though the war were primary, not the nations engaged in it. The strongest chapter is a retelling of Kurt Gerstein's life; Gerstein was the SS officer who tried to warn the world about the concentration camps while working as the SS supply agent for the gas chambers. The weakest sections of the book are devoted to the love triangle between Shostakovich, Elena Konstantinovskaya and film director Roman Karmen. Throughout, Vollman develops counternarratives to memorialize those millions who paid the penalties of history. Few American writers infuse their writing with similar urgency.

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Publishers Weekly: In the small set of America's best contemporary novelists, Vollmann is the perpetual comet. Every two years or so he flashes across the sky with another incredibly learned, incredibly written, incredibly long novel. Two years ago, with Argall, he easily bested John Barth in the writing of 17th-century prose while taking up the tired story of the settlement of Jamestown and making it absolutely riveting. His latest departs from his usual themes—the borders between natives and Westerners, or prostitutes and johns—to take on Central Europe in the 20th century. "The winged figures on the bridges of Berlin are now mostly flown, for certain things went wrong in Europe...." What went wrong is captured in profiles of real persons (Kathe Kollwitz, Kurt Gerstein, Dmitri Shostakovich, General Paulus and General Vlasov) as well as mythic personages (a shape-shifting Nazi communications officer and creatures from the German mythology Wagner incorporated into his operas). Operation Barbarossa—the German advance into Russia in 1941, and the subsequent German defeat at Stalingrad and Kursk—is central here, with the prewar and postwar scenes radiating out from it, as though the war were primary, not the nations engaged in it. The strongest chapter is a retelling of Kurt Gerstein's life; Gerstein was the SS officer who tried to warn the world about the concentration camps while working as the SS supply agent for the gas chambers. The weakest sections of the book are devoted to the love triangle between Shostakovich, Elena Konstantinovskaya and film director Roman Karmen. Throughout, Vollman develops counternarratives to memorialize those millions who paid the penalties of history. Few American writers infuse their writing with similar urgency.

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Publishers Weekly : Hamilton fans who have wondered what happened to Cammy Coleman after the death of her cousin Patty Ann will find the answer in this sequel to Cousins, which introduces many new members of the Coleman clan. The author's on-target dialogue and skillfully drawn characterizations compensate for the book's uneven pacing. However, some audience members (especially those unfamiliar with the novel's predecessor) may have trouble sorting out minor characters. Cammy herself feels a bit overwhelmed by the onslaught of Colemans, who arrive in her town for a reunion; she decides to call them all "second cousins." One such relative, Jahnina ("outa New York. Queens"), both fascinates and repels the 12-year-old heroine. Brimming with city smarts, computer know-how and self-confidence, 13-year-old Jahnina offers more than one form of enlightenment, and the scenes between Cammy and her are the high points of the novel. This drama reflects the day-to-day squabbles, disappointments and tensions that plague every household. More pointedly, Hamilton conveys the eternal, unshakable love that binds family members together. Ages 11-up.

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School Library Journal : Gr 5-8-In the first few chapters of this sequel to Hamilton's Cousins (Philomel, 1990), Cammy Coleman is still reacting emotionally to the tragic drowning death the previous summer of her close cousin Patty Ann. This summer's big event is the family reunion, with cousins, second cousins, third cousins, and more coming from far and wide to Cammy's small town. After a rocky start, she forms a special friendship with Jahnina, also known as Fractal, who is from New York City. (The various characters all seem to have one or more nicknames, which may create some confusion for readers.) As the girls get to know one another better and better, however, Cammy is unable to accept the true nature of their relationship-they are half sisters. Through dialect and believable actions and outcomes, Hamilton's characters spring to life. Punchy sentence fragments accurately reflect the rush of emotion felt by preadolescents as they are inevitably introduced to the complications of adulthood and family dynamics. Although the plot is thin and the tone somewhat uneven, the emotional truths are both dramatic and real. Hamilton's fans and those interested in the joys and heartaches of growing up will enjoy the extended Coleman family.-Peg Solonika, Carnegie Library of Pittsburgh, PA

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