Publishers Weekly Australian author Plozza mixes mystery with a teenager's messy reckoning with her family history in her debut novel. Now 17 and living with her aunt, Frankie Vega has never gotten over being abandoned by her mother at age four. So when 14-year-old Xavier shows up, claiming to be her half-brother, she isn't sure what to think. Should she trust him, or will he disappoint her like their mother did? Xavier turns out to be involved in some pretty shady things, including helping a (hot) burglar named Nate. Then again, Frankie and her family aren't exactly angels (she's recently been suspended after breaking another student's nose). Though Frankie isn't sure that Xavier can be trusted, when he goes missing, she takes it upon herself to find him. As Frankie plays detective, the clues lead her to Xavier and help her come to terms with her feelings about her mother and her own sense of self-worth. An edgy and drily funny novel that dives deep into how forgiveness-especially forgiving oneself-can help a person grow. Ages 13-up Agent: Cheryl Pientka, Jill Grinberg Literary Management. (Oct.) © Copyright PWxyz, LLC. All rights reserved.

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Kirkus The members of the Italian-Australian Vega family aren't known for their contributions to society."Dark-olive" Frankie, with her "aggressive tendencies," has been suspended from school for breaking a classmate's nose with the complete works of Shakespeare; Juliet, Frankie's drug-addicted mother, abandoned Frankie when she was 4; and Frankie's uncle Terry is currently serving a 15-year sentence for multiple armed robberies. When Xavier, Frankie's half brother, pops out of nowhere, Aunt Vinnie, Frankie's guardian and the only Vega on the right side of the law, warns Frankie not to get too close to the boy with whom she shares a mother. At first Frankie doesn't know what to think of the 14-year-old. Is he a junkie? A liar? A thief? How far from the Vega tree has this newly discovered apple fallen? Is he involved in the recent spate of burglaries in the neighborhood? When Xavier goes missing, the only people Frankie can rely on are her best friend, the caustically funny Cara Lam (whose implied Chinese heritage goes unexplored), and Nate, a white, blue-eyed law-breaking indie poseur. Frankie's first-person narration gives readers a well-rounded picture of a formerly bullied teen from the wrong side of the tracks struggling to make sense of her past and how it affects her present relationships. A gritty and darkly witty debut. (Fiction. 14-18) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list One word describes Frankie Vega perfectly: survivor. Ever since her mother abandoned her at age four, she's had to be tough, whether it's getting into fist fights or mouthing off to cops. Only Aunt Vinnie, who runs a questionable kabob stand, and her friend Cara are allowed anywhere near Frankie's heart. That changes when her 14-year-old half brother, Xavier, shows up wanting to establish a relationship. Frankie is excited but cautious. She has no love for their estranged mother and wonders how Xavier fits into their lives. Suddenly Xavier disappears, and Frankie begins a frantic search for the brother she didn't know she loved. Readers will love Frankie for her courage, passion, and honesty as a narrator. Supporting characters are equally as well drawn, from surly yet caring Aunt Vinnie to Nate, a neighborhood ne'er-do-well with deep blue eyes. As Frankie assembles clues to Xavier's fate, the story is unafraid to depict unsavory people, nor does it shy away from bittersweet resolutions. A powerful debut about a girl learning to love despite the dangers.--Suarez, Reinhardt Copyright 2017 Booklist

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

Horn Book Seventeen-year-old Frankie Vega has a quick temper and even quicker wit. Repercussions from attacking a classmate and hurtful memories of those who've let her down (like her addict mother) are compounded by the appearance--and subsequent disappearance--of a previously unknown half-brother, fourteen-year-old Xavier. Frankie's authentic voice carries a gritty and layered story. (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.

Publishers Weekly British botanist Anna Atkins used cyanotypes-photographic paper that turns blue in the sun-to publish the world's first book of photographs in 1843, a compendium of her extensive dried seaweed collection. Appropriately, the layered artwork in this picture book biography by Robinson (Ada's Ideas) is worked almost entirely in shades of blue, with the occasional red or yellow accent (a poppy, a ladybug, the sun's rays). Robinson's doll-like, romantic figures-Atkins has large eyes and round, rougelike spots on her cheeks-could skew sentimental, but the biography is detailed and informative. Atkins was lovingly reared and educated by her widowed father, and the two share a rich, loving partnership of teaching, plant collecting, and mutual encouragement as Anna grows into adulthood. A scientist friend introduces the pair to cyanotypes, and Anna sees that the medium will allow her to share her collection widely. "To my dearest father," reads her dedication (and Robinson's as well), "this attempt is affectionately inscribed." A valuable biography of an early female scientist-and a rare portrait of a father-daughter collaboration. Ages 6-9. Agent: Paul Rodeen, Rodeen Literary Management. (Feb.) c Copyright PWxyz, LLC. All rights reserved.

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Horn Book Robinson's poetic biography of pioneering nineteenth-century botanist and photographer Anna Atkins unfortunately fictionalizes historical gaps--mainly regarding Atkins's childhood relationship with her father--with sentimental informed guesses. But the blue-hued illustrations sit alongside reproductions of Atkins's sketches and cyanotypes, resulting in blueprint-like illustrations that evoke nineteenth-century aesthetics while providing a clear picture of Atkins's work. An author's note and cyanotype instructions are included. Bib. (c) Copyright 2019. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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School Library Journal Gr 2-5-Raised by her scientist father, young Anna Atkins was introduced to a number of scientific ideas and methods and was encouraged to pursue her passions and education. Atkins became an avid collector of specimens from the natural world, shells and ferns and flowers among them, and learned to illustrate them with remarkable accuracy. When she was introduced to the new science of photography and cyanotypes (aka sun prints), Atkins's inspiration reached a peak and she began to catalog and photograph her enormous collection. Robinson's picture book biography is a loving tribute to this remarkable woman whose impressive contributions were recognized long after her passing. Openly acknowledging in the author's note that Atkins's childhood was lost to history, the author fills in the gaps with imagined scenes of her youth-somewhat of a misstep in an otherwise winsome work. Robinson's writing has an ethereal quality to it. The beautiful blues of the pencil drawings, watercolor washes, and original cyanotypes from Atkins's collection come together on each page as an immersive experience, creating an array of blue that limns Atkins's world. VERDICT A pleasing addition to most collections. Have readers enjoy independently or perhaps with sun print paper so that they can try their hand at cyanotype making.-Jody Kopple, Shady Hill School, Cambridge, MA © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Kirkus Robinson examines the life of Anna Atkins, whose childhood love of the natural world propelled a unique career.Born in England in 1799, Anna was raised by her scientist father after her mother's death. Father abets Anna's fascination with nature, fostering her scientific education. She becomes a botanist, collecting, cataloging, and illustrating British flora. The pair moves to London, where Father works at the British Museum. Anna marries John Pelly Atkins and continues work on her pressed-plant herbarium. Father's retirement occasions the family's return to the Kent countryside, where father and daughter explore their mutual zeal for a new technology: photography. Introduced to the cyanotype, whose chemical reaction produces permanent images, Anna harnesses the technique to share her botanical collections, producing several books under the demure nom de plume "A.A." As little is known of Anna's early life, Robinson's present-tense narrative imagines childhood scenes. Historical context highlights the British mania for worldwide plant collection (but does not connect it to imperialism) and the sexist constraints on women and girls pursuing career paths. Illustrations utilize the cyanotype's distinctive blue and white, with touches of red and yellow. A note details Robinson's process, including digital manipulation of Atkins' cyanotypes. (Other backmatter includes an author's note, cyanotype instructions, bibliography, resources for Atkins' works, and illustration credits.) The effete, white-skinned figural depictions, which infantilize the adult Atkins, detract from the otherwise handsomely designed package.An inventive look at a pioneering woman whose intellectual passions culminated in published works of beauty and scientific verisimilitude. (Picture book/biography. 6-9) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list Cyanotypes, or sun prints, are blue-toned photographic prints created by placing an object on chemically treated paper and exposing it to sunlight. The result is a detailed, ghostly image surrounded by deep blue. Robinson embraces this aesthetic in her beautifully illustrated biography of Anna Atkins, a nineteenth-century botanist, artist, and early adopter of this photographic technique. The narrative text walks readers through Anna's childhood in England, exhibiting her close relationship with her scientist father, who fostered her interest in plants a rare opportunity granted to women in those days. As an adult, she created cyanotypes of her impressive plant collection, resulting in the first-known books of photographs. Robinson's cyan blue illustrations pop with occasional red or yellow accents, and blend pencil drawings with watercolor paintings, vintage prints, and photographs, including some of Anna's cyanotypes. Fascinating back matter includes instructions for making sun prints, institutions where Anna's cyanotypes can be seen, and notes on how Robinson created the book's unique illustrations. Pair with Margarita Engle's Summer Birds (2010) for a glimpse of another pioneering female scientist and illustrator.--Julia Smith Copyright 2018 Booklist

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

Publishers Weekly Even the book's younger readers will understand the distinctive visual code. As the pigs enter the confines of a storybook page, they conform to that book's illustrative style, appearing as nursery-rhyme friezes or comic-book line drawings. When the pigs emerge from the storybook pages into the meta-landscape, they appear photographically clear and crisp, with shadows and three dimensions. Wiesner's (Tuesday) brilliant use of white space and perspective (as the pigs fly to the upper right-hand corner of a spread on their makeshift plane, or as one pig's snout dominates a full page) evokes a feeling that the characters can navigate endless possibilitiesDand that the range of story itself is limitless. Ages 5-up. (Apr.) Copyright 2001 Cahners Business Information.

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School Library Journal K-Gr 6-In Tuesday (Clarion, 1991), Wiesner demonstrated that pigs could fly. Here, he shows what happens when they take control of their story. In an L. Leslie Brooke sort of style (the illustrations are created through a combination of watercolor, gouache, colored inks, and pencils), the wolf comes a-knocking on the straw house. When he puffs, the pig gets blown "right out of the story." (The double spread contains four panels on a white background; the first two follow the familiar story line, but the pig falls out of the third frame, so in the fourth, the wolf looks quite perplexed.) So it goes until the pigs bump the story panels aside, fold one with the wolf on it into a paper airplane, and take to the air. Children will delight in the changing perspectives, the effect of the wolf's folded-paper body, and the whole notion of the interrupted narrative. Wiesner's luxurious use of white space with the textured pigs zooming in and out of view is fresh and funny. They wander through other stories-their bodies changing to take on the new style of illustration as they enter the pages-emerging with a dragon and the cat with a fiddle. The cat draws their attention to a panel with a brick house, and they all sit down to soup, while one of the pigs reconstructs the text. Witty dialogue and physical comedy abound in this inspired retelling of a familiar favorite.-Wendy Lukehart, Dauphin County Library, Harrisburg, PA Copyright 2001 Cahners Business Information.

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Book list Ages 3^-6. This spectacular, large-format edition has double-page-spread illustrations that resonate with bold strokes and exuberant images of the moon as it prepares for its nightly activities. The moon paints the sky, gets rid of fog and mist, plants dreams, locks up nightmares until morning comes and it's time to go to sleep. Even very young children will understand this simple, almost poetic Spanish rendition of a sweet bedtime story.

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

Publishers Weekly Data Over Dogma podcaster McClellan debuts with a smart and historically grounded look at what scripture says about some of Christianity’s most provocative questions. Drawing on the text and canonical sources, he unpacks the origins of what he argues are misconstrued symbols (the number 666 does not signify “the mark of the beast” but is more likely code for Roman emperor Nero, an infamous “persecutor of early Christians” around the time the number first appeared in scripture); debunks literalist readings (while the book of Proverbs supports corporal punishment for children, the practice should be considered a relic of the ancient world); and unravels the nuances of hot-button issues, arguing, for example, that the Bible does not condemn homosexuality because “the concept of sexual orientation” didn’t exist in ancient times—though it does prohibit same-sex intercourse. In the process, he perceptively examines how biblical tenets have been skewed or exploited by some believers to cloak their innate prejudices, which then become “identity markers” used to justify “authoritarianism and social dominance.” Combining fine-grained textual analysis with enlightening historical context, this is a valuable resource. (Apr.)

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Library Journal Independent religion scholar McClellan draws from his popular TikTok account and expands upon it in this work, answering common questions many may have when discussing what the Bible actually says about a range of current issues. He starts each chapter with a summary of a viral video addressing the question at hand, and, with faith-based skepticism and a hint of irreverence, tackles what that video gets wrong or right about the text of the Bible. He explains how he reaches his conclusions, highlighting a variety of translations and Hebrew and Greek word studies to dissect and show his perspectives, referencing many other biblical scholars and their work, and pivoting away from how the Bible has been weaponized against marginalized groups. VERDICT At times it can be difficult to determine the audience McClellan hopes to reach, as the book's chapters vary in length and depth, leaving some readers to find it too verbose. The work will best serves readers hoping to resolve specific issues with how the Bible is used in arguments and defenses of particular beliefs.—Amanda Ray

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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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Copyright 1999 Cahners Business Information, Inc. Distributed by Syndetic Solutions Inc. Terms