Kirkus Some call Habo a zeruzerua zero-zeronothing. Others willingly pursue the riches his albino body parts will bring on the black market in Sullivan's intense debut. With his white skin, shaky, blue, unfocused eyes and yellow hair, 13-year-old Habo fits nowhere in his chocolate-brown Tanzanian familynot with his brothers who shun him, nor even with his mother, who avoids his touch. Did this bad-luck child even cause his father to abandon him at his birth? Only Habo's sister, Asu, protects and nurtures him. Poverty forces the family from their rural home near Arusha to Mwanza, hundreds of miles away, to stay with relatives. After their bus fare runs out, they hitch a ride across the Serengeti with an ivory poacher who sees opportunity in Habo. Forced to flee for his life, the boy eventually becomes an apprentice to Kweli, a wise, blind carver in urban Dar es Salaam. The stark contrasts Habo experiences on his physical journey to safety and his emotional journey to self-awareness bring his growth into sharp relief while informing readers of a social ill still prevalent in East Africa. Thankfully for readers as well as Habo, the blind man's appreciation challenges Habo to prove that he is worth more alive than dead. His present-tense narration is keenly perceptive and eschews self-pity. A riveting fictional snapshot of one Tanzanian boy who makes himself matter. (Fiction. 12-16)]] Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list Born albino in a Tanzanian village, Habo suffers virulent prejudice for his pale skin, blue eyes, and yellow hair, even from his own family. At 13, he runs away to the city of Dar-es-Salaam, where he thinks he will find more acceptance: there are even two albino members of the government there. He finds a home as an apprentice to a blind sculptor who knows Habo is a smart boy with a good heart, and he teaches Habo to carve wood. But Habo is being pursued by a poacher who wants to kill him and sell his body parts on the black market to superstitious buyers in search of luck. Readers will be caught by the contemporary story of prejudice, both unspoken and violent, as tension builds to the climax. Just as moving is the bond the boy forges with his mentor, and the gripping daily events: Habo gets glasses for his weak eyes, discovers the library, and goes to school at last. The appended matter includes a Swahili glossary and suggestions for documentary videos.--Rochman, Hazel Copyright 2010 Booklist

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

School Library Journal Gr 8 Up-Habo, 13, knows that his albinism makes him a zeruzeru, less than a person. His skin burns easily, and his poor eyesight makes school almost impossible. People shun or mock him. Unable to accept his son's white skin and yellow hair, his father abandoned the family, and they cannot manage their drought-ravaged farm in a small Tanzanian village. Habo and his mother, sister, and brother travel across the Serengeti to seek refuge with his aunt's family in Mwanza. Along the way, they hitch a ride with an ivory poacher, Alasiri, who kills elephants without remorse for the money the tusks bring. In Mwanza, the family learns that one commodity can fetch even higher prices: a zeruzeru. Rich people will pay handsomely for albino body parts, and Alasiri plans to make his fortune. Habo must flee to Dar es Salaam before he is killed. After a harrowing escape, he reaches the city and miraculously encounters a person to whom his appearance makes no difference: a blind woodcarver named Kweli. Slowly Habo develops a sense of self-worth as well as carving skills. When Alasiri brings ivory for Kweli to carve, the boy and old man work with the police to send the hunter to prison. Habo's gripping account propels readers along. His narrative reveals his despair, anger, and bewilderment, but there are humorous moments, too. Although fortuitous encounters and repeated escapes may seem unlikely, the truth underlying the novel is even more unbelievable. In Tanzania, people with albinism have been maimed and killed for their body parts, thought to bring good luck. Readers will be haunted by Habo's voice as he seeks a place of dignity and respect in society. An important and affecting story.-Kathy Piehl, Minnesota State University, Mankato (c) Copyright 2013. 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 Tanzanian Habo is an albino. He is being pursued by an ivory poacher who is trying to murder Habo for his body parts (superstition holds they can be used for good-luck charms). Sullivan excels at conveying Habo's feelings of freakishness and alienation, and her efforts to draw attention to this real-life human rights abuse are commendable. A glossary and resources are appended. (c) Copyright 2014. 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.

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. Distributed by Syndetic Solutions Inc. Terms

Publishers Weekly “The truth is, everybody lies,” observes New Yorker staff writer and National Book Critics Circle award winner Keefe (Say Nothing) in this gripping investigation into a young man’s mysterious death in 2019 London. Surveillance footage shows Zac Brettler, 19, jumping from a fourth-story apartment balcony into the Thames, apparently fleeing for his life. The man living in the apartment, a middle-aged gangland enforcer named Verinder Sharma, died a year later, stymieing Scotland Yard’s criminal investigation. The only other witness, a businessman named Akbar Shamji, was caught lying to the police and offered no help beyond an initial bombshell revelation, disclosed to Zac’s grieving parents shortly after his death, that Zac had for some reason fooled him and Verinder into thinking he was the son of a Russian oligarch. In between piecing together the facts, Keefe zooms out, vividly portraying the morass of the modern London underworld, a “twenty-four-hour laundromat for dirty money... full of crooks with pretensions to legitimacy and businessmen who seem a little crooked.” Keefe’s approach is profoundly humane, particularly in his intimate interviews with Zac’s parents, Matthew and Rachelle, who convey a deep desire to understand their late son. Despite the murky material, Keefe arrives at an artful and clarifying explanation. It’s a remarkable new turn for the celebrated author. Agent: Tina Bennett, Bennett Literary. (Apr.)

(c) Copyright PWxyz, LLC. All rights reserved

Kirkus A tragic death in a transformed city. Keefe, the author of some of this century’s finest nonfiction, has crafted another masterwork. This is a penetrating portrait of a young man destroyed by malignant influences given free rein in a global hub of capitalist excess. In November 2019, 19-year-old Zac Brettler leapt from the fifth-floor balcony of a luxury apartment in London, falling to his death in the Thames. But this was no straightforward suicide. Brettler, well-off but not rich, had become fixated on opulence, spending nights on social media admiring the “glitzy, mercenary, aspirational culture” embodied by foreign billionaires who’d bought mansions and soccer clubs in his city. Hoping to join their number, he contrived a false identity that led to his undoing. Posing as “Zac Ismailov,” a Russian oligarch’s son, Brettler befriended shady entrepreneurs. At 18, he showed his real father—who works in finance but isn’t “flashy,” Keefe writes—an authentic-looking bank statement for a personal account holding about $1 million. Keefe uncovers details that suggest Brettler jumped to escape from one of his new purported friends, a “violent” extortionist. Keefe might be our sharpest chronicler of the intersection of criminal opportunism and institutional fecklessness. The author finds witnesses and writes of the “bizarre passivity of Scotland Yard,” decimated by budget cuts. He tallies the harm done by decades of deregulation in London, where the financial sector is stacked with “professional facilitators eager to help protect or conceal a dubious fortune.” And he closely observes his real-life characters, sensitively showing the very different ways in which Brettler’s parents processed their pain. This is powerful reporting, a potential classic about the dangerous allure of a city remade as “a twenty-four-hour laundromat for dirty money.” An exemplary account of naïveté, wealth, and menace, impeccably told by a top-notch journalist. Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. Distributed by Syndetic Solutions Inc. Terms

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

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. Distributed by Syndetic Solutions Inc. Terms

Copyright 1994 Cahners Business Information, Inc. Distributed by Syndetic Solutions Inc. Terms

Publishers Weekly: Booksellers should send up three cheers of greeting for this haunting second novel by the author of The Book of Ruth , a beautifully developed and written story reminiscent of the work of Sue Miller and Jane Smiley. A piercing picture of domestic relationships under the pressure of calamitous circumstances, it poignantly addresses the capricious turns of fate and the unyielding grip of regret. Alice and Howard Goodwin and their two young daughters live on the last remaining dairy farm on the outskirts of Racine, Wisc. The farm is Howard's dream, realized with infusions of money from his disapproving mother; but Alice, who is disorganized, skittery and emotionally volatile, is constitutionally unsuited to be a farmer's wife. Her solace is her best friend Theresa, who also has two little girls for whom they alternate days of babysitting. One hot, dry June morning, in the middle of a soul-parching drought, Alice daydreams for a few, crucial minutes while the four girls play. She has rediscovered the map of the world that she made after her own mother died when she was eight; it was an attempt to imagine a place where she would always feel safe and secure. In that short time, one of Theresa's daughters drowns in the Goodwins' pond. As outsiders from the city, the Goodwins have never been accepted in their small community, which now closes forces against them. Still grieving and filled with remorse, Alice, a school nurse, is accused by an opportunistic mother of sexually molesting her son. She is arrested, and since Howard cannot raise bail, she remains in jail, where she suffers but also learns a great deal about human frailty and solidarity. Meanwhile, Howard and the girls undergo their own crucible of fire. Among Hamilton's gifts is a perfect ear for the interchanges of domestic life. The voices of Alice and Howard, who narrate the tale, have an elegiac, yet compelling tone as they look back on the events that swept them into a horrifying nightmare. In counterpoint to the shocks that transform their existence, the drudgery of the daily routine of farm life has rarely been conveyed with such fidelity. Fittingly, however, the death of their hopes as a family coincides with Howard's realization that the farmer's way of life is disappearing as well. The last third of the book, detailing Alice's incarceration among mainly black inmates, is astonishingly perceptive and credible, opening new dimensions in the narrative. One wants to read this powerful novel at one sitting, mesmerized by a story that has universal implications. BOMC and QPB selection.

Copyright 1994 Cahners Business Information, Inc. Distributed by Syndetic Solutions Inc. Terms