Book list *Starred Review* Ireland delivers a necessary, subversive, and explosive novel with her fantasy-laced alternate history. America is changed forever when the dead begin to prowl battlefields during the Civil War. The horror births a new nation and a different type of slavery, in which laws force Native and Negro children to attend combat schools and receive training to put down the dead. Jane McKeene attends Miss Preston's School for Combat in Baltimore. She studies to become an Attendant, trained in both weaponry and etiquette, to protect the white well-to-do. For Negro girls like Jane, it's a chance for a better life; however, as she nears the completion of her education, she longs simply to return to her Kentucky home. But when families around Baltimore go missing, Jane finds herself entangled in a conspiracy that results in a fight for her life against powerful enemies. Ireland crafts a smart, poignant, thrilling novel that does the all-important work of exploring topics of oppression, racism, and slavery, while simultaneously accomplishing so much more. It explores friendship, love, defying expectations, and carving out your own path instead of submitting to the one thrust upon you. From page one, Jane is a capable, strong heroine maneuvering through a world that is brilliant and gut-wrenching. This will take readers on a breathless ride from beginning to end.--Davenport, Enishia Copyright 2017 Booklist

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Publishers Weekly In this alternate-history horror tale, shortly after Jane McKeene was born, the dead rose and attacked the living, effectively ending the Civil War. A reunified army fought the shambling hordes until Congress passed the Negro and Native Reeducation Act, requiring adolescent children of color to train for battle. At age 14, Jane-who is mixed race-enrolled at Miss Preston's School of Combat for Negro Girls, hoping to avoid conscription by becoming a socialite's bodyguard. Three years later, Jane is close to earning her attendant certificate when she, her ex, and her rival stumble across a dastardly plot hatched by Baltimore's elite. First in a duology, Ireland's gripping novel is teeming with monsters-most of them human. Abundant action, thoughtful worldbuilding, and a brave, smart, and skillfully drawn cast entertain as Ireland (Promise of Shadows) illustrates the ignorance and immorality of racial discrimination and examines the relationship between equality and freedom. Mounting peril creates a pulse-pounding pace, hurtling readers toward a nail-biting conclusion that inspires and will leave them apprehensive about what's to come. Ages 14-up. Agency: Donald Maass Literary. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

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School Library Journal Gr 9 Up-Slavery comes to a halt when the dead on Civil War battlefields begin to rise and eat their compatriots. The north and south put aside their philosophical differences and join forces against the undead. They are aided in their efforts by the passage of the Native and Negro Reeducation Act which forces African American boys and girls into combat schools. Graduates from these schools are a buffer between the living and the undead. Jane McKeen is a biracial girl sent to Ms. Preston's school of combat to obtain an attendant certificate. Jane is about to graduate when her friend, Red Jack, asks for help locating his sister Lily. Jane's attempts to discover Lily's whereabouts land her in a survivalist colony. Survivalists advocate a disordered view of natural selection that places Jane firmly under the thumb of a vicious sheriff and his psychopathic family. Jane is tasked with finding a way out of Summerland not only for herself, but also for those she loves. She must make some unlikely alliances of her own if she is to survive long enough to find her own path to freedom. This is a fictional exploration of the chattel slavery and American Indian boarding school systems. Ireland skillfully works in the different forms of enslavement, mental and physical, into a complex and engaging story. VERDICT A perfect blend of horrors real and imagined, perfect for public and school libraries and fans of The Walking Dead.-Desiree Thomas, Worthington Library, OH © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Publishers Weekly This heartrending story by German writer Raschke is narrated by 10-year-old Jette, who describes the death of her terminally ill six-year-old brother Emil in unvarnished prose (“He lay there completely still. And pale, like yogurt”). Her parents are too devastated to offer much comfort. Earlier on, when Emil wasn’t as ill and they were on vacation, Jette asked her father whether fish could sleep. “Dad gave me a funny look and mumbled something. I saw that he didn’t know.” It’s an early hint that the parents she depends on are as lost as she is. Another time, Jette and Emil talk frankly about death, and she offers Emil a version of Heaven that he likes: “pizza heaven, where he can eat as much pizza as he wants all day.” Cartoonish drawings by Rassmus contribute to the straightforwardly painful mood, as when Jette is seen in the back of her car on the way to the funeral home with Emil’s seat empty beside her. Brutally honest about the suffering that follows the death of a young sibling, Raschke’s narrative is at once excruciating, honest, and compelling. Ages 8–12. (Oct.)

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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 young woman’s experience as a nurse in Vietnam casts a deep shadow over her life. When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away. A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War. Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly Hannah’s emotionally charged page-turner (after The Four Winds) centers on a young nurse whose life is changed by the Vietnam War. Before Frankie McGrath begins basic training for the Army in 1966, her older brother Finley is killed in action. Frankie excels as a surgical nurse in Vietnam and becomes close with fellow nurses Ethel and Barb. After Ethel’s tour ends, Frankie and Barb gets assigned to the base at Pleiku, near the Cambodian border, where some of the heaviest fighting occurs. There, she reunites with Navy officer Rye Walsh, Finley’s best friend, and they become lovers. When Frankie returns to the U.S., she’s met with indifference for her service from her parents, who are still grieving her brother’s death, and disdain from people who oppose the war. She leans on alcohol and drugs while struggling to acclimate to civilian life. Though the situations and dialogue can feel contrived (Rye, after announcing he’s re-upping, says to Frankie at the close of a chapter, “I’m not leaving my girl”), Hannah’s depictions of Frankie tending to wounded soldiers are urgent and eye-opening, and a reunion of the three nurses for Frankie’s benefit is poignantly told. Fans of women’s historicals will enjoy this magnetic wartime story. Agent: Andrea Cirillo, Jane Rotrosen Agency (Feb.)

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Publishers Weekly Like still waters, de la Peña (A Nation's Hope) and Robinson's (Gaston) story runs deep. It finds beauty in unexpected places, explores the difference between what's fleeting and what lasts, acknowledges inequality, and testifies to the love shared by an African-American boy and his grandmother. On Sunday, CJ and Nana don't go home after church like everybody else. Instead, they wait for the Market Street bus. "How come we don't got a car?" CJ complains. Like many children his age, CJ is caught up in noticing what other people have and don't have; de la Peña handles these conversations with grace. "Boy, what do we need a car for?" she responds. "We got a bus that breathes fire, and old Mr. Dennis, who always has a trick for you." (The driver obliges by pulling a coin out of CJ's ear.) When CJ wishes for a fancy mobile music device like the one that two boys at the back of the bus share, Nana points out a passenger with a guitar. "You got the real live thing sitting across from you." The man begins to play, and CJ closes his eyes. "He was lost in the sound and the sound gave him the feeling of magic." When the song's over, the whole bus applauds, "even the boys in the back." Nana, readers begin to sense, brings people together wherever she goes. Robinson's paintings contribute to the story's embrace of simplicity. His folk-style figures come in a rainbow of shapes and sizes, his urban landscape accented with flying pigeons and the tracery of security gates and fire escapes. At last, CJ and Nana reach their destination-the neighborhood soup kitchen. Nana's ability to find "beautiful where he never even thought to look" begins to work on CJ as the two spot people they've come to know. "I'm glad we came," he tells her. Earlier, Nana says that life in the deteriorated neighborhood makes people "a better witness for what's beautiful." This story has the same effect. Ages 3-5. Agent: Steven Malk, Writers House. (Jan.) © Copyright PWxyz, LLC. All rights reserved.

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Book list CJ and his nana depart church and make it to the bus stop just in time to avoid an oncoming rain shower. They board the bus, and while CJ is full of questions and complaints (why don't they have a car? why must they make this trip every week? and so forth), Nana's resolute responses articulate the glories of their rich, vibrant life in the city, as presented by the bus' passengers and passages. A tattooed man checks his cell phone. An older woman keeps butterflies in a jar. A musician tunes and plays his guitar. At last the pair arrive at the titular destination and proceed to the soup kitchen where, upon recognizing friendly faces, CJ is glad they came to help. Robinson's bright, simple, multicultural figures, with their rounded heads, boxy bodies, and friendly expressions, contrast nicely with de la Peña's lyrical language, establishing a unique tone that reflects both CJ's wonder and his nana's wisdom. The celebratory warmth is irresistible, offering a picture of community that resonates with harmony and diversity.--Barthelmess, Thom Copyright 2015 Booklist

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School Library Journal K-Gr 2-After church on Sundays, CJ and his nana wait for the bus. It's a familiar routine, but this week CJ is feeling dissatisfied. As they travel to their destination, the boy asks a series of questions: "How come we gotta wait for the bus in all this wet?" "Nana, how come we don't got a car?" "How come we always gotta go here after church?" CJ is envious of kids with cars, iPods, and more freedom than he has. With each question, Nana points out something for CJ to appreciate about his life: "Boy, what do we need a car for? We got a bus that breathes fire." These gentle admonishments are phrased as questions or observations rather than direct answers so that CJ is able to take ownership of his feelings. After they exit the bus, CJ wonders why this part of town is so run-down, prompting Nana to reply, "Sometimes when you're surrounded by dirt, CJ, you're a better witness for what's beautiful." The urban setting is truly reflective, showing people with different skin colors, body types, abilities, ages, and classes in a natural and authentic manner. Robinson's flat, blocky illustrations are simple and well composed, seemingly spare but peppered with tiny, interesting details. Ultimately, their destination is a soup kitchen, and CJ is glad to be there. This is an excellent book that highlights less popular topics such as urban life, volunteerism, and thankfulness, with people of color as the main characters. A lovely title.-Anna Haase Krueger, Ramsey County Library, MN (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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