Book list *Starred Review* For all appearances, Bone Gap is a sluggish farming town that most people want to escape, a place with gaps just wide enough for people to slip away . . . leaving only their stories behind. That's what folks assumed happened when Roza disappeared from the state fair, but 17-year-old Finn knows better. He's the only one who sees her leave, but his description of her abductor that he moves like a shivering cornstalk doesn't help the police, and the people of Bone Gap resentfully believe that Finn helped the beloved girl disappear because she wanted to. She arrived just as enigmatically as she left: she appeared one night in Finn and Sean's barn, beaten and cagey and unwilling to see a doctor, but the brothers didn't leer at her like most men, so she stuck around. Even though the people of Bone Gap are suspicious of outsiders, they were quickly taken by the beautiful Polish girl with an uncanny feel for dirt and plants and livestock, but none so much as Finn's brother, Sean, who seems to lose a piece of himself when she disappears. Her departure drives a wedge between the brothers Finn feels like Sean isn't doing enough to look for her, and Sean thinks Finn is hiding something about the night she left. Most of Bone Gap sides with Sean, and Finn, who has always been strange, feels like more of an outsider than ever. Finn keeps searching, however, and odd-looking Petey, the fiery daughter of the local beekeeper, is the only who believes him. She's just as much of an outsider as Finn, especially after ugly, untrue rumors about Petey and a boy at a party spread in that pernicious small-town way. But in spite of the rumors, Finn is deeply drawn to her and her wide-set, bee-like eyes. Even after the strange way Finn stares at her, Petey still thinks he's beautiful. Their endearing romance is free of sticky sweetness, and together they discover that there's more to their town and Finn than meets the eye. It's the gaps in Bone Gap that give it its name, but there are no cliffs or ravines there. Rather, there are gaps in the world. In the space of things. Those gaps in the town are loose enough that a person can fall clear through to the other side of reality, and that's precisely where the cornstalk man took Roza. At first, he keeps her in a normal suburban house, but after she attempts an escape, she wakes up in a cavernous castle and later, a too-perfect re-creation of her village in Poland, all while the sinister cornstalk man waits for her, the most beautiful woman he's ever seen, to fall in love with him. Roza's history is full of such men. As a young girl in Poland, she was constantly pursued, but she soon realized that those men merely wanted to possess her, sometimes violently, for her beauty and nothing more. Her capture is a twisted version of a fairy tale, the kind that prizes a princess for her ethereal beauty and rescues her from a lifetime toiling in the soil. But Roza loves toiling in the soil, and when Finn plumbs the depths of the underworld to rescue her, he does so not as a brawny hero but as someone who believes in Roza's strength and independence. Ruby weaves powerful themes throughout her stunning novel: beauty as both a gift and a burden; the difference between love and possession; the tensions between what lies on the surface and what moves beneath; the rumbling threat of sexual violence; the brutal reality of small-town cruelties. She imbues all of it with captivating, snowballing magic realism, which has the dual effect of making the hard parts of the story more palatable to read while subtly emphasizing how purely wicked and dehumanizing assault can be. But in Ruby's refined and delicately crafty hand, reality and fantasy don't fall neatly into place. She compellingly muddles the two together right through to the end. Even then, after she reveals many secrets, magic still seems to linger in the real parts of Bone Gap, and the magical elements retain their frightening reality. Wonder, beauty, imperfection, cruelty, love, and pain are all inextricably linked but bewitchingly so.--Hunter, Sarah Copyright 2015 Booklist

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

School Library Journal Gr 10 Up-It is a rare book that sits comfortably on the shelf with the works of Twain, McCullers, Conroy, Stephen King, and D'Aulaires' Greek Myths--rarer still that a novel combines elements of these authors together. Bone Gap does just this, to superb effect. We start with a boy named Finn and his brother, Sean. Sean is the classic hero: strong, silent, great at everything he does. Finn is a pretty boy whose otherworldly goofiness has earned him the nicknames Spaceman, Sidetrack, and Moonface. Along comes Rosza, a beautiful and damaged young woman, fleeing from some unknown evil. When she disappears, only Finn witnesses her abduction and he is unable to describe her captor. He is also unsure whether she left by force or choice. The author defies readers' expectations at every turn. In this world, the evidence of one's senses counts for little; appearances, even less. Heroism isn't born of muscle, competence, and desire, but of the ability to look beyond the surface and embrace otherworldliness and kindred spirits. Sex happens, but almost incidentally. Evil happens, embodied in a timeless, nameless horror that survives on the mere idea of beauty. A powerful novel.-Nina Sachs, Walker Memorial Library, Westbrook, ME (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Horn Book Roza has disappeared; Finn alleges that she was kidnapped, but he cannot offer up a useful description of the abductor. The kidnapped-young-women trope isn't new, but such books often read like mysteries or thrillers, while this one reads more like a fable, with the matter-of-fact inclusion of magical realism. Readers will be left pondering the strange events, quirky characters, and resonant themes. (c) Copyright 2016. 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 A teenage boy wrestles against forces real and imagined in a small, rural town named Bone Gap. Finn was the only one to witness the kidnapping of brother Sean's beautiful girlfriend, Roza, at the spring festival. But when he looks at mug shots, all the faces look frustratingly similar. Meanwhile, a tall man with eyes like ice who demands her love traps Roza in an ever changing netherworld. But Roza is determined to find her way back to Sean and Finn's backyard, no matter what the cost. Told from the viewpoints of multiple Bone Gap citizens, this inventive modern fable whimsically combines elements of folklore, mythology, romance and feminism. Finn starts out as a daydreaming cipher, but when he discovers he has a condition called "face blindness," his vague character comes into sharp focus, and his mission to battle the tall man becomes clear. Both Roza and Finn's love interest, Priscilla, develop over the course of the magically real journey into strong women to be reckoned with, while the secondary characters, including a sassy beekeeper, wise chicken farmer and self-aware horse, are charming and memorable. And if the transitions between reality and fantasy are a little rocky and the worldbuilding occasionally a little thin, it can be forgiven due to the sheer ambition of the refreshingly original plot. Cleverly conceived and lusciously written. (Fantasy. 13 up) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list Growing up in a Japanese American family in California, Gyo Fujikawa enjoyed drawing. Each day, she started with an empty white page ... and filled it with pictures. Though lonely at her first school, she found friends after her family moved to an island where many Japanese Americans lived. She studied art in college, traveled to Japan, and worked for Disney Studios in New York before beginning her freelance career as an artist and picture-book illustrator. Disheartened during WWII, when her family was sent to an internment camp, she continued working. Beginning with Babies (1963), her first racially inclusive picture book, she insisted that children shouldn't be segregated on the page, and she prevailed. An appended note provides information on Fujikawa's career, her passion for social justice, and her role as a trailblazer. Written and illustrated with clean, spare lines, the book reveals emotions in an understated manner. When her family was interned, the text includes phrases such as no pictures would come and her heart would not mend. In the artwork, created with liquid watercolor, gouache, and pencil crayons, Morstad uses line, color, and texture with finesse. This beautiful biography offers a fitting tribute to an artist with a lasting legacy in American picture books.--Carolyn Phelan Copyright 2019 Booklist

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

Publishers Weekly In spare, elegant spreads and graceful prose, frequent collaborators Maclear and Morstad (Bloom) tell the story of Japanese-American illustrator Gyo Fujikawa (1908–1998). An artist from the beginning, “she loved the feel of the pencil in her hand.” Fujikawa is treated like an outsider throughout her California upbringing but remains determined, attending college and traveling to Japan. Working as a freelance artist in New York City when WWII breaks out, she’s heartbroken when her family members, along with thousands of other Japanese-American citizens, are interned. In Morstad’s artwork, crisp line drawings alternate with lively watercolor and gouache scenes that revolve around patterned textiles; the art fades with the onset of war and revivifies as Fujikawa sketches the beginnings of Babies. When one spread shows white and black babies together, the publisher rejects it until Fujikawa, recalling “all the times she had felt unseen and unwelcome,” persuades them otherwise. Happily, the book is a success, and “Gyo kept going. Welcoming kids in from the edges, from the corners.” Maclear and Morstad’s biography conveys with quiet power how recently segregation reached into every aspect of American life, and how one woman did her part to defeat it. Ages 4–8. (Oct.)

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Kirkus Pencil in hand, faced with an unjust world, Gyo Fujikawa created a new future.At 5, Japanese American Gyo Fujikawa didn't yet know what she wanted to be. She knew a pencil fit well in her hand, and she liked to fill empty pages with pictures of her world. As she grew, Fujikawa used her passion for art and her mother's activism to guide her education and inspiration. Defying gender conventions, Fujikawa attended college in 1926, when few American women did. Studying in Japan, she exchanged restrictive art classes for travel and aesthetic immersion. Back in the U.S., her family was sent to an internment camp on the West Coast while she began an art career at Disney on the East Coast, causing Fujikawa to lose her desire to draw. Eventually, she found a way to wield her craft to fight injustice. Her first book, Babies, published in 1963, featured racially diverse babies playing together and became a huge success despite publisher prejudice and misgivings. Morstad's artwork precisely balances white space with vignettes, black-and-white illustrations with eye-catching color. Often mimicking Fujikawa's style, Morstad layers engaging details and deep emotional resonance onto Maclear's spare, poetic text. Backmatter includes a detailed timeline with photos and quotes, an extensive note from the creators, and a selected bibliography and sources list.A splendid picture-book celebration of an artist and activist. (Picture book/biography. 5-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal K-Gr 4—When Gyo Fujikawa submitted the first book she had written and illustrated, her publishers hesitated. In 1963, a book with black, white, and Asian babies engaged in daily activities was highly unusual. Maclear and Morstad introduce readers to the artist whose quiet insistence led to the publication of the groundbreaking work. Born in California in 1908, Fujikawa was often ignored by white classmates but felt the support of her high school teachers. Her varied career included painting murals, working for Walt Disney Studios, and drawing for magazines. When her West Coast family was sent to an internment camp in 1942, she kept working to help support them. Her commitment to equality and justice helped promote diverse children's books, including more than 50 she created. Many illustrations recall the elegance and simplicity of Fujikawa's own work with plain backgrounds that allow readers to focus on the main subjects: a night scene of her mother burning possessions before the family's forced departure. Tiny figures dwarfed by barracks at the internment camp. A colorful swirling kimono during Fujikawa's 1932 study visit to Japan contrasts with black-and-white drawings of times of sadness. Two pages of photos and chronological highlights follow the main text. VERDICT Maclear and Morstad pack a lot of information into a few pages. This exemplary biography of a pioneer in multicultural children's books deserves a place in most collections.—Kathy Piehl, Minnesota State University Library, Mankato

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Horn Book Japanese American artist Fujikawa (1908–1998) helped break the color barrier in picture books with her 1963 now-classic Babies. Maclear lucidly outlines a remarkable life of art and creativity, of struggle and perseverance. Growing up in California, Fujikawa ‘sometimes...felt invisible among her mostly white classmates.’ This feeling continued into adulthood and an art career in New York City, especially when her West Coast–based family was incarcerated in WWII internment camps. Morstad's illustrations effectively vary in style and coloring to match events. Timeline. Bib. (c) Copyright 2021. 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.

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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. Itâ??s a â??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 bookâ??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 Wiesnerâ??s other works, Chris Van Allsburgâ??s titles, or Barbara Lehmanâ??s The Red Book (Houghton, 2004) for a mind-bending journey of imagination.–Joy Fleishhacker, School Library Journal

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Kirkus A father and son stumble on an ancient Irish sacred site, with lasting consequences. It’s 1865 when the normally taciturn Tomás reels out of a mysterious wooded copse in rural Ireland, babbling nonstop. He and his 10-year-old son, Liam, have been surveying for the hated British, who need native speakers to learn place names and boundaries from the locals, then render them into English. But now, as he tells his pregnant wife, Phina, and daughters, Enda and Rose, back in Dublin, he plans to give up that job to make “a map of how this land really is, of how it has always been, of what lies beneath whatever order or disorder others might impose upon it.” Oh, and he has taken their life savings to lease land near the copse from a local aristocrat; they will live in a ruined cottage, abandoned years ago during the Great Hunger that emptied the Irish landscape and sent Tomás and Phina as children to a grim workhouse. This is the dramatic premise of O’Farrell’s evocative and impassioned 10th novel. After Tomás’ baffling announcement, the narrative rewinds some millennia to reveal the copse as the source of a spring with magical powers, in which a young girl finds a ring that belonged to her vanished father, the last of Ireland’s original inhabitants. Back in the 19th century, baby Eugene, born in the family’s new home, “is not as other children”; he never speaks and appears to have mystical understanding. He and his siblings, each a skillfully drawn individual, forge separate destinies over the following decades, embodying O’Farrell’s key themes: the conflict between Catholicism and ancient ways, the subjugation of women, the brutality of the English ruling class, the people’s connection to the land. A gruesome exorcism is the first of many disasters that befall the family—so many that only O’Farrell’s pungent reminders of Ireland’s long and tragic history keep the litany of sorrows from seeming excessive. The radiant closing pages offer a measure of relief from the generally dark tone. Steeped in Irish history and folklore, alive with a sense of wonder. Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly O’Farrell (Hamnet) paints a devastating yet tender portrait of Irish history through the story of a Dublin family’s relocation to a western peninsula. In 1865, with resentment at British rule growing in Ireland, skilled draftsman Tomás travels with his 10-year-old son, Liam, from Dublin to the secluded outpost. His assignment is to map the area and to establish new English place-names to substitute for traditional Irish ones. But after Tomás discovers a mystical and secluded spring, he’s flooded by a newfound sense of purpose, which he attempts to explain to Liam: “My point is, my point is, my point is... that there needs to be a map of how this land really is.... And to do so would be an act of honour. Honour and resistance.” Liam is alarmed and confused by his taciturn father’s sudden torrent of words, and a local priest worries Tomás has been possessed by the devil. “That well... is a heathen place, pagan and godless,” the priest tells Tomás. Forever changed, Tomás moves his family to the peninsula, where older daughter Enda bristles at their isolation while Liam willfully turns toward God and away from his father. Meanwhile, younger daughter Rose longs for stability, and youngest child Eugene silently nurtures his own singular relationship to the land and its history. Mellifluous digressions spotlight the peninsula’s earlier settlers, such as a girl named Brith who walks in sealskin shoes on the same ground as Tomás and his family. It’s a stunning and gorgeous epic. (June)

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Book list Maps are guides to regional geography; they can also be artifacts of colonialism or tools for revealing suppressed history. The latest by the author of Hamnet (2020) and The Marriage Portrait, (2022), a transfixing epic drawn from lore about her mapmaker ancestor, adds to O’Farrell’s reputation as a superb literary stylist. In 1865, with his wife and daughters in Dublin, Tomás works for Britain’s Ordnance Survey on a remote western Irish peninsula and quietly ensures that landmarks from the Great Hunger are documented. His 10-year-old son, Liam, unwillingly accompanies him. A mystical experience within an unmapped cluster of trees deeply affects the reserved Tomás, provoking difficult family upheavals. Through stories of love, tragedy, devotion, and the characters’ very human blind spots, we follow the multistranded plot forward from Ireland to Canada and India as well as backward into prehistory and Tomás’s repressed childhood memories. This wonderfully expansive yet intimate saga, which illustrates how individuals survive the devastating legacies of imperialism and religious control, offers a sense of empathetic harmony between author and subject. As relayed through beautiful passages about nature, the land abides as its occupants change, and the descriptions of music and its emotional impact soar. Readers will gain a whole new perspective on mapmaking with “its peculiar mix of science and storytelling, mathematics and artistry.”

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

Library Journal In this epic yet intimate portrait of Ireland, O'Farrell (Hamnet) uses one family to explore the island nation. In 1865, Tomás and his young son Liam work with the British Army to create a complete map of Ireland. While mapping a peninsula in the Atlantic, they find an undiscovered and mysterious copse of trees. This discovery will alter their lives. Tomás enters the copse to retrieve lost Liam and comes out mentally changed, to the extent that the local priest is called in to perform an exorcism. He is never the same man. He and Liam return to their family, but Tomás decides that he must move them all back to this peninsula. Interspersed with this family's story are time jumps to the future and even to the ancient past. All the narratives ultimately center on how the terrain itself has created and shaped Ireland. VERDICT O'Farrell's latest is highly recommended for all fiction collections. This lyrical and moving historical novel about Ireland and one family within its larger history will enchant her fans and anyone who likes family sagas.—Kristen Stewart

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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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