School Library Journal Gr 9 Up-This promising debut, set in the heyday of grunge, tells the story of Maggie Lynch, a displaced Chicagoan and grunge music fan, living in a quiet town (Bray) on the Irish Sea. Maggie was uprooted from her friends, her music scene, and her beloved Uncle Kevin when her romantically fickle mother married her latest boyfriend, resulting in a move to his hometown. During her time of difficult adjustment to Ireland, Maggie falls in love with Eion the very moment a devastating loss hits her family, leading to rebellion and a journey to Rome to see Nirvana and fulfill Uncle Kevin's wish for her. Foley sets the scene vividly, writing that Bray has a "soggy sort of grandeur" and weaving in the tiny cultural differences that Maggie has to navigate as an American. The narrative voice is clear and compelling, but Maggie often makes decisions that feel incongruous to her character. She has an independent spirit, but Eion only joins her on the journey because she needs a rescue. A self-professed Nirvana fan, which is critical to the plot, she never seems to like the band as much as she is trying to impress Uncle Kevin. However, the secondary characters are complex and sympathetic: Foley has also populated Bray with a host of quirky, loving, and memorable background characters, which enriches the story. Recommended for teens who enjoy travelogue romance stories or novels about rock music.- Susannah Goldstein, Convent of the Sacred Heart, New York City (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Horn Book Greenfield presents poems from new puppy Thinker's and young owner Jace's points of view. The two philosophize about poetry and life while getting to know each other. The poems range from free verse, sometimes with well-paced internal rhyme, to more structured rhyming poems. Abdollahi's bright paper collages show a joyful, brown-skinned family, in a welcome addition to the too-small canon of lighthearted animal fantasy (and poetry) featuring children of color. (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 In a poetic narrative first published in the U.K., a boy's dog is much more than a friendly pooch-like his owner, Jace, he's a poet: "They named me Thinker, and I knew/ this was the place to be." Jace and Thinker communicate in non-rhymed verses. "When I recite my poems,/ I make music," Jace says. But even though Jace loves exchanging poems with Thinker at home, he fears how others might react if they heard him recite poetry. Abdollahi illustrates in evocative collage using handmade paper, capturing the feel of Jace's bustling community. Coretta Scott King Award-winner Greenfield sensitively conveys Jace's anxiety about being perceived as different, and his realization that being true to one's self is the best bet-for kids and dog poets, too. Ages 4-8. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

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Book list Sixteen narratively connected verses feature a poetic dog, Thinker, and his seven-year-old rhymester human, Jace. Thinker's poems explore how he got his name, the mysteries of the universe, his desire to go to school, and his difficulties remembering not to declaim in the presence of humans outside his family. The pooch mostly succeeds until Pets' Day, when he spontaneously recites a jingle for Jace's class, prompting all the other pets to demonstrate their own special talents as well. Greenfield's poems are short, varied (many are free verse, but some are haiku and others rap), and mostly delivered from the dog's perspective. Abdollahi's mixed-media collage artwork features handmade and hand-colored papers that are inspired by the environment. The papers are particularly adept at conveying textures and shading, and while figures are stylized, the art works well both close up and from a story hour distance. Jace and his family are African American, and his neighborhood is nicely diverse. Appended with a note about the poems from Greenfield, this should encourage young wordsmiths.--Kay Weisman Copyright 2019 Booklist

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

Kirkus A puppy gets a new home and a new family while learning to communicate.When 7-year-old Jace receives a new pet dog, he picks out the perfect name for a puppy who believes he is a poet. "We'll name you Thinker,' yes, I think / that that's the name for you." Jace, too, is a poet. "When I recite my poems, / I make music." Not permitted to attend school with Jace, Thinker spends time at home with Jace's little sister, Kimmy, and visits with his twin, who lives nearby. At last, it's "Pets' Day at school," but Jace doesn't want his poet puppy to speak. As Thinker knows, he's afraid "his friends will say / he's a weird kid, with a weird pet." Despite his best effort not to, Thinker recites a poembut all the other pets join in with their own special talents, to the delight of the teacher, students, and even Jace. Greenfield brings her vast experience to this delightful piece of poetic whimsy that celebrates the powers of poetry, family, and friendship. Jace's family is African-American while neighbors and schoolmates are pictured as diverse. The poems are primarily free verse, but there are haiku and rap as well. Iranian illustrator Abdollahi uses expressive handmade and -colored paper collages to complement the mood. The light and liveliness of the pictures are eye-catching and appealing, and the color palette is warm and rich, further enhancing the poetry. A good way to introduce the youngest readers to extended narratives in verse. (Picture book/poetry. 4-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal Gr 1-2-What if your dog could speak human words? When Jace and his family want to name their new puppy "something cute," the dog objects. "Uh-uh! No way! No way!/I'm deep and I'm a poet. No!/A cute name's not OK." Naming him Thinker, Jace, who is a poet, shares his ideas about poetry with the pup. The improbable--even goofy--premise plays out as an entertaining, empathetic story and congenial poetry lesson through Greenfield's skilled writing. Abdollahi's fine use of cutting tools with hand-crafted papers produce simple, attractive characters and scenes. The title suggests that Jace will be the narrator, but Thinker takes center stage most of the time. Greenfield favors free verse that moves easily along, recounting Thinker's days and his eventual visit to Jace's school for Pets' Day. There is one haiku and a small rhymed verse along the way, and Thinker closes his stirring class visit and the book with a rap. Greenfield's short concluding commentary on poetry writing, free verse, and rap invites readers to also write their own poems. Modest in size, the narrative will work best with an early grade range for personal enjoyment, read-aloud, and discussion. It could also serve nicely in teaching both art and poetry writing in older classes. VERDICT A well-crafted title that is wide in appeal and possibilities for use.-Margaret Bush, Simmons College, Boston © Copyright 2019. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Publishers Weekly Like Klassen's very funny and much-praised I Want My Hat Back, this story involves a hat theft; this time, Klassen ups the ante by having the thief narrate. It's a small gray fish who has stolen a tiny bowler hat from a much larger fish ("It was too small for him anyway," the little fish sniffs. "It fits me just right"). Klassen excels at using pictures to tell the parts of the story his unreliable narrators omit or evade. "There is someone who saw me already," admits the little fish, about a goggle-eyed crab. "But he said he wouldn't tell anyone which way I went. So I am not worried about that." The spread tells another story; the crab betrays the small fish in a heartbeat, pointing to its hiding place, "where the plants are big and tall and close together." Readers hope for the best, but after the big fish darts in, only one of them emerges, sporting the hat. It's no surprise that the dominant color of the spreads is black. Tough times call for tough picture books. Ages 4-8. Agent: Steven Malk, Writers House. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved.

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School Library Journal PreS-Gr 1-With this new creation, Klassen repeats the theme from I Want My Hat Back (Candlewick, 2011), but with a twist. The narrator here is the thief-a small, self-confident fish who has pilfered a little blue bowler from a big sleeping fish. He wastes no time or words in confessing his crime as he swims across the page announcing, "This hat is not mine. I just stole it." He continues his narrative with no regrets, but with a bit of rationalizing ("It was too small for him anyway.") as he swims to his hiding place, unaware that the big fish is in quiet pursuit. Readers, of course, are in on this little secret. When the two disappear into a spread filled with seaweed, the narration goes silent, and youngsters can easily surmise what happens as the big fish reemerges with the tiny blue bowler atop his head. Simplicity is key in both text and illustrations. The black underwater provides the perfect background for the mostly gray-toned fish and seaweed while the monochromatic palette strips the artwork down to essential, yet exquisite design. Movement is indicated with a trail of small white bubbles. This not-to-be-missed title will delight children again and again.-Carolyn Janssen, Public Library of Cincinnati & Hamilton County, Cincinnati, OH (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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School Library Journal K-Gr 3-The narrative tension between text and art is as crystalline as the water at the bottom of the sea is murky in this tale of underwater mischief. The little fish in the stolen hat is absolutely sure he is going to get away with his crime, but attentive children will holler, "Look behind you!" (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* Klassen's authorial debut, I Want My Hat Back (2011), became one of the surprise picture-book hits of the year. This follow-up is really only related in its hat-theft theme, animal characters, deadpan humor, and a suggestively dark conclusion. Which might seem like everything, but whereas the first book featured light sleuthing by a semi-dopey bear looking to find his lost lid, this is a similar story from a fishy absconder's point of view. This hat is not mine. I just stole it, claims a minnow darting through the deep-sea black. He tells how he lifted it from a bigger fish. At each stage, the minnow reassures himself that he's gotten away with his perfect crime. We see it ain't so, as the big fish trolls along right behind him, right down to the minnow's final, prophetic double entendre: Nobody will ever find me. Once again, the simple, dramatic tension and macabre humor mesh splendidly with Klassen's knack for tiny, telling details and knockout page turns. Who knew hat thievery was such a bottomless well? HIGH-DEMAND BACKSTORY: Klassen's debut was a #1 New York Times best-seller and Geisel Honor Book. The publisher is rolling out a 15-city tour and pulling out all the publicity stops in support of this release.--Chipman, Ian Copyright 2010 Booklist

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

Book list Larson's latest work of history, an account of the bombardment of Fort Sumter and the events leading up to it, could have been inspired by “Mars, the Bringer of War,” from Gustav Holst's orchestral suite, The Planets. Not only is the subject war, but Larson’s writing mirrors the music's rising, inexorable pace. The story is presented chronologically in seven sections that capture the mounting tensions between North and South. Larson deftly blends swift and vivid writing with in-depth research in primary sources, bringing alive people who are now less-known than Abraham Lincoln and Jefferson Davis but key to shaping events. Larson portrays secessionist firebrands Edward Ruffin and James Hammond, describing how Hammond sexually abused his wife’s nieces and raped an enslaved woman and her daughter. In near solitude, Major Robert Anderson, Sumter’s commander, tried to balance maintaining the Union and avoiding war. Using Anderson’s wife’s letters and writer Mary Chesnut’s Civil War diary, Larson brings in women’s views of the crisis. In his epilogue and coda, Larson summarizes how people in the book fared during and after the Civil War, while his acknowledgments offer a fascinating investigation of his research methods. Compelling details, fresh perspectives, and lively writing make this a standout view of the antebellum and Civil War eras.HIGH-DEMAND BACKSTORY: Best-selling Larson's passionate readers will be primed, while this will also attract readers keen on Civil War history.

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

Publishers Weekly In this twisty and cinematic account, bestseller Larson (The Splendid and the Vile) recreates the five-month period between Abraham Lincoln’s 1861 election and the outbreak of the Civil War, focusing on the intensifying showdown over Fort Sumter in Charleston, S.C., where Maj. Robert Anderson, the U.S. Army commander, faced a swelling Confederate force with his outgunned garrison of 75 soldiers. Larson mirrors Anderson’s struggle to hold his post while avoiding provocations that might lead to war with Lincoln’s tight-rope-walk attempt to stand firm against secession without goading the South into it. As he traveled to Washington, D.C., to take office—arriving in disguise after dodging a rumored assassination plot in Baltimore—Lincoln vacillated over whether to resupply Fort Sumter or surrender it. In Larson’s telling, Anderson’s ordeal makes for a superb war story—his secret Christmastime redeployment from Charleston’s indefensible Fort Moultrie to Fort Sumter, for instance, emerges as a masterpiece of psychological deception. The author probes the Southern perspective as well—via acerbic diarist Mary Chesnut among others—and assesses the ideologies and errors that birthed the Civil War, including a violent pro-slavery mob’s efforts to stop Congress from certifying Lincoln’s Electoral College victory. The result is a mesmerizing and disconcerting look at an era when consensus dissolved into deadly polarization. Photos. (Apr.)

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Kirkus The bestselling author is back with an intriguing tale from the beginning of the Civil War. In his latest appealing historical excavation, Larson, author of The Splendid and the Vile, Dead Wake, and other acclaimed books of popular history, examines the run-up to the Civil War during the six months between Lincoln’s November 1860 election and the surrender of Fort Sumter: a dismal period when bumblers, not excluding Lincoln, and fanatics dominated. People will fight for their freedom, but more will fight for their money, a fact that persuaded the Founding Fathers to continue the practice of slavery. Abolition became a major issue in the North early in the 19th century, enraging southerners. At the time, there was a widespread belief that Black men and women were fit for nothing better than being enslaved. All major southern religious traditions agreed, along with scholars, educators, journalists, and scientists. Most northerners agreed but hated that enslaved people worked for nothing; this depressed wages so there was opposition to slaves moving into territories and new states. Powerless before taking office, Lincoln vastly overestimated pro-Union sentiment in the South. He assured northern audiences that matters would calm down, believing (against all evidence) that secessionists were rational and that slavery in existing states was inviolate. Popular history demands a hero, so Larson concentrates on Maj. Robert Anderson, commander of the forts in Charleston harbor. Although he was a slaveowner, he did his duty, defending Fort Sumter until it became impossible and returning to the North to great acclaim. True to his style, Larson includes interesting portraits of obscure peripheral figures that enrich the narrative, including James Hammond, a wealthy but obnoxious planter and senator, and Mary Chesnut, wife of an even wealthier planter who kept an invaluable diary. A welcome addition to any Civil War buff’s library. 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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Publishers Weekly Nigerian-born Jesuit priest Akpan transports the reader into gritty scenes of chaos and fear in his rich debut collection of five long stories set in war-torn Africa. "An Ex-mas Feast" tells the heartbreaking story of eight-year-old Jigana, a Kenyan boy whose 12-year-old sister, Maisha, works as a prostitute to support her family. Jigana's mother quells the children's hunger by having them sniff glue while they wait for Maisha to earn enough to bring home a holiday meal. In "Luxurious Hearses," Jubril, a teenage Muslim, flees the violence in northern Nigeria. Attacked by his own Muslim neighbors, his only way out is on a bus transporting Christians to the south. In "Fattening for Gabon," 10-year-old Kotchikpa and his younger sister are sent by their sick parents to live with their uncle, Fofo Kpee, who in turn explains to the children that they are going to live with their prosperous "godparents," who, as Kotchikpa pieces together, are actually human traffickers. Akpan's prose is beautiful and his stories are insightful and revealing, made even more harrowing because all the horror--and there is much--is seen through the eyes of children. (June) Read a web-exclusive q&a with Uwem Akpan at www.publishersweekly.com/akpan. (c) Copyright PWxyz, LLC. All rights reserved

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Library Journal Already featured twice in The New Yorker, Nigerian (and Jesuit priest) Akpan here collects his stories of Africa's troubled children. (c) Copyright 2010. 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.

School Library Journal Adult/High School-With the intensity of Chinua Achebe's Things Fall Apart, Say You're One of Them tells of the horrors faced by young people throughout Africa. Akpan uses five short stories (though at well over 100 pages, both "Luxurious Hearses" and "Fattening for Gabon" are nearly stand-alone novels in their own right) to bring to light topics ranging from selling children in Gabon to the Muslim vs. Christian battles in Ethiopia. The characters face choices that most American high school students will never have to-whether or not to prostitute oneself to provide money for one's homeless family, whether to save oneself, even if it means sacrificing a beloved sibling in the process. The selections are peppered with a mix of English, French, and a variety of African tongues, and some teens may find themselves reading at a slower pace than usual, but the impact of the stories is well worth the effort. The collection offers a multitude of learning opportunities and would be well suited for "Authors not born in the United States" reading and writing assignments. Teens looking for a more upbeat, but still powerful, story may prefer Bryce Courtenay's The Power of One (Random, 1989).-Sarah Krygier, Solano County Library, Fairfield, CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Book list *Starred Review* With this heart-stopping collection, which includes the New Yorker piece,  An Ex-Mas Feast,  that marked Akpan as a breakout talent, the Nigerian-born Jesuit priest relentlessly personalizes the unstable social conditions of sub-Saharan Africa. Throughout, child narrators serve as intensifying prisms for horror, their vulnerability and slowly eroding innocence lending especially chilling dimensions to the volume's two most riveting entries: Fattening for Gabon (one of the book's three novellas), about the systematic grooming of a Benin 10-year-old and his sister for sale to a sex-slavery ring; and the collection's title story, a harrowing plunge into the mind of a mixed-race girl during the Rwandan genocide. From the slurp of machetes slashing into flesh  to a toddler's oblivious stomping through blood puddling from his mother's crushed skull, Akpan tackles grisly violence head-on, but most of the stories, with the exception of the overlong, metaphor-laden  Luxurious Hearses,  are lifted above consciousness-raising shockers by Akpan's sure characterizations, understated details, and culturally specific dialect. Don't expect to emerge with redemption delivered on a silver platter. The stories' tattered hope comes indirectly, from the thirst for broader knowledge about Africa's postcolonial conflicts they'll engender, and from the possibility that the collection's opening map, with the featured nations labeled (as helpful as it is a glaring symbol of most Western readers' woeful ignorance), will someday prove superfluous.--Mattson, Jennifer Copyright 2008 Booklist

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

Library Journal Forthright language, scalding scenarios: an uncle tries to sell his niece and nephew into slavery, a girl sees her family slaughtered in Rwanda. Akpan, a Nigerian-based Jesuit priest, triumphs with a debut collection that illustrates the bone-crushing fate of Africa's children. (LJ 5/1/08) (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Publishers Weekly This brilliant collection of short stories by Nigerian-born Akpan invites listeners into a world of beauty and heartbreak where young people in the throes of adolescence struggle to survive harrowing violence and tragedy. Miles and the remarkable Graham meet the prose with their own intensity and bring flourishes to the realistic, empathetic characters. Graham is a true stand-out: he inhabits each character fully, aces accents, and excels at conveying an understated melancholy. A thrilling work of art. A Little, Brown hardcover. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved

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