The story jumps timelines quickly to 1969, introducing Salwa’s daughter, Jamil, who later changes her name to Jasmine. As time flows, in a mostly linear fashion, Jasmine rises from a “barefoot girl in a remote village” in Egypt to the 1970’s New York City modeling scene. Jasmine’s appeal is undeniable—“She was like a very subtle perfume, tangy and lingering, but light as a butterfly's kiss” —but the glamor of her new world can’t quite hide the lingering political turmoil of her birthplace. Sol, too, undergoes his own transformation over the years, as his family makes the trek from Egypt to the United States in search of safe harbor.
Sumptuous details, occasionally overly rich, treat readers to a feast for the senses, from the crowded, noisy bustle of Cairo to the cozy warmth of homes old and new, as Naggar both introduces and celebrates the fabric of culture in this character-driven story. The panoply of characters lends the work a vibrant flair, and each voice is unique, though the sheer quantity of names and relationships can become confusing. Jasmine’s development will resonate—both as a reflection of contemporary events and for the sweet, powerful story of human tenacity and family bonds.
Takeaway: A powerful reflection on politics, family, and human resilience in the wake of exile.
Comparable Titles: Abraham Verghese’s The Covenant of Water, Yaa Gyasi’s Homegoing.
Production grades
Cover: A-
Design and typography: A-
Illustrations: N/A
Editing: B
Marketing copy: A
Zeitler does a spectacular job of blending compelling true history, with these fictional lives, whose personal experiences stir a deeper, immersive understanding of the era and of what it takes to push back against humanity’s worst. With crisp prose and cultural sensitivity, the novel offers incisive perspective on the anger, fear, connections, and love that drive people to stand up against hateful ideologies.
Zeitler will also leave readers with a rich understanding of Ceylon, better known as Sri Lanka, the island nation colonized by the British. Through the eyes of Vernon’s family, once owners of a large plantation, and through the eyes of Saul, who knows very little about Ceylon but immerses himself in the culture, The Half-Caste conjures Ceylon with such persuasive power, charting the heartbreaking growth of racial prejudice and a movement, joined by the passionate Saul, who takes on his own nation’s colonial project—and will face terror and tragedy. Although the novel ends abruptly, and more could be told, readers will walk away satisfied, buoyed by these characters who risk it all for what’s right.
Takeaway: Heart-rending novel of standing up to fascism in 1930s Britain and Ceylon.
Comparable Titles: Edie Meidav’s The Far Field, Frank Griffin’s October Day.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
At that news, Daniel returns to his home in Indiana for the first time in over two decades, unable to ignore his mother’s pleas, who’s desperate for Daniel to “come and deal with [his] father in person.” While reluctantly taking over as caregiver, he discovers a connection between his father’s Vietnam-related nightmares and abusive behavior, allowing Daniel a chance to understand his father’s past—and the two men to come to a truce. Treakle immediately draws readers in, connecting Daniel’s abuse to his own life choices and exploring how it’s impacted his relationships, particularly the decimation of his marriage.
Treakle spotlights the apparent idyll of middle-America through Daniel’s mother, a preacher’s daughter who, for years, did little to stop the abuse, only coming forward to support her son when his own negative choices threatened to ruin his life. Yet the book’s heart is the life-altering events of Jerome’s military service, the violence he participated in there as a soldier, and his inability to come to terms with his actions. As Daniel searches for answers about his father’s time in Vietnam, he hones his journalism skills, leading him to unravel a mystery that grips until the final pages.
Takeaway: A father and son take on the demons of their past in this gripping story.
Comparable Titles: John Podlaski’s Cherries, Tim O’Brien’s The Things They Carried.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
An environmental lawyer like Josh, Burcat (Strange Fire) has a pitch-perfect ear for the horrific and compelling interplay among attorneys in a major firm as well as the tense rhythms of a hospital caught up in an ongoing crisis. He proves equally good with the weather descriptions, elevating the storm system into something like a well-developed antagonist. The story moves at a fast clip, with a lot of action: as Josh and the other lawyers fight their way through the destruction, the book even takes on a Homeric tone. And although the frequent switch between first- and third-person can be jarring at times, the tale itself always keeps the reader's attention.
Although the emphasis is on the journey, Burcat’s characterization ensures that we see the personalities change along with the weather. Josh's first-person voice comes through clearly, especially his love for Keisha and weariness with his work. At the same time, we see Keisha fighting her own struggles, as what starts as a love triangle turns into some soul-searching. Most interesting is Diane, as Burcat shows just how deeply her soul has been damaged by her ambition. The ending is entirely unexpected—and yet satisfying, leaving the readers pleased they met Josh and the other characters, and hoping they weather whatever comes next.
Takeaway: A lawyer braves a hurricane and his colleagues to reach his pregnant girlfriend.
Comparable Titles: Taylor Adams’s No Exit, Samantha Jayne Allen’s Hard Rain.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Charlotte’s side of this well-constructed story will be instantly relatable for readers, with themes of settling into a new place, and the sadness of losing her father touches without being overly visceral. Jeremy’s story will prove less immediately intuitive for young readers, as a Virginian father eager to fight for the North against slavery despite his wife’s religious objections is complicated, especially as slavery itself is not depicted in the story. Still, that setup illuminates the complexity of American identities, and the idea of a boy who wants to follow his own idea of manhood will resonate with adolescent readers.
In the past, the upsetting parts of the story, such as the killing of Jeremy’s beloved cow by soldiers, are also told with grace. Both Charlotte and Jeremy’s stories come to satisfying conclusions without loose ends, and the shift in Charlotte’s thinking about her dad at the end makes it clear she’s learned something from the experience.
Takeaway: Ghost mystery connecting present and past while gently exploring grief.
Comparable Titles: Claire LeGrand’s The Year of Shadows, Allison Mills’s The Ghost Collector.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Prochoda is engagingly frank throughout, often exhibiting a welcome light touch, as when he notes that he originally wanted to write his memoir Eat, Pray, Love style but discovered that when he tried this the narrative was “as interesting to read as a service manual for a 1979 Toyota Corolla.” In the aim of helping others to understand the power of growth and vulnerability, he also is open about other shortcomings, including regrets about parenting, an affair during his first marriage, and an unrealistic desire for the mythical “perfect woman.”
The author isn’t shy about laying himself bare and sharing what he has learned from his wise wife, a Harley-riding, emotionally badass blonde he met online. Prochoda writes that his wife also grew up in a dysfunctional household but used her training as a psychiatrist to set healthy boundaries in every part of her life, including her relationship with Prochoda. Under her tutelage, Prochoda learns to do the same thing. This inviting but unflinching narrative will appeal to those seeking emotional growth, especially those who struggle to show it to those who they care about.
Takeaway: Incisive look at a man’s bold emotional growth, with a road map for others.
Comparable Titles: Owen Marcus’s Grow Up, David Kundtz’s Nothing's Wrong.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Intrigue and unexpected twists keep this novel moving at a fast clip. The narrator is kidnapped by Vanguard members, only to discover the group’s leader is none other than his friend, Ralph Finns, “the wealthiest of them all, so much so that he made the rest look practically insolvent.” Turns out The Vanguard isn’t political after all: it’s composed of people committed to righting the wrongs for victims unable to speak for themselves. Tree captures the nuances of classic literature in a sweeping, harrowing story, with larger-than-life characters who are unpredictable and unreliable at times, ensconced in a tale riddled with secrets and jaw-dropping revelations of the wolves—often in coveted, high-powered positions—who prey on the innocent.
With a mission to "undermine the status quo," Tree’s constantly moving narrative reveals the truth in stark snippets, exposing the wicked while central characters take justice by any means necessary. The villains are dark and haunting—protected by money, status, and elitist “boys’ club” traditions—and the horrific abuse and heavy subject matter may be triggering for some readers. Thought-provoking and biting, at times disturbing and challenging, this is a story of heroism and payback that will stay with readers long after its stunning and satisfying conclusion.
Takeaway: An unpredictable tale of vengeance and vigilante justice.
Comparable Titles: John Grisham's A Time To Kill, Deanna Raybourn's Killers of a Certain Age.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: B+
Readers eager for a sugar-rush of dark super-powered action and shadowy secret societies will find lots here that’s fresh and vivid. But editing and presentation issues, plus the novel’s relentless momentum and protracted length, make Sid’s adventures challenging to keep up with, even as the many twists, confrontations, power-set evolutions, and bursts of crisp dialogue (“He thinks he’s uncontrollable, but that makes him one of the most easily guidable people I’ve ever met”) prove individually exciting. But too often the rushed, unpolished prose reads as if texted: “Oh yea he brought Peacock with him he’s holding that knife made out of his skin and hair in his right hand did I mention that has that been mentioned?”
Characters and developments are introduced so quickly, with so little explanation, that they lack impact and often clarity. The fantasy of Sid, at 14, running a super-powered assassination squad is so fun that readers will want to relish the characters and imaginative setups before it all goes pear-shaped. That’s true, too, of later stages of Sid’s journey, involving demons, other dimensions, a Red Lightning civil war, and more. (It probably doesn’t apply to the surprisingly graphic sex scene.) When the narrative voice connects, though, Blacksmith blends a playful spirit and storytelling that surges.
Takeaway: Inventive but unpolished epic of superpowered killers at war.
Comparable Titles: Alexander Darwin’s Combat Codes, Drew Hayes.
Production grades
Cover: B-
Design and typography: C
Illustrations: N/A
Editing: C
Marketing copy: B
In alternating chapters Mamah provides vivid details of both parents' upbringing and childhood struggles in the face of war and hardship in each country. The pair allows their love to guide them through relocations, career changes, political regime changes, and even prejudice from within their own family, specifically Judit's father, who eventually grows to love Matthew as his own son. Mamah's narrative is an engaging tale that immerses readers in the rich cultural history of Mamah's parents and a love that spans 25 years and five children, including two sets of twins, plus much societal change Mamah emphasizes the perseverance of that love in the face of “the political turmoil of the latter part of the twentieth century,” celebrating their strength, commitment, and connection in a world too often unmoored.
As the Rivers Merge is an emotional and inspiring story of cultures colliding and love transcending borders and human divisions. Fans of historical narratives and culturally diverse love stories will find much that’s moving in this story of family, religion, political strife, and resilience.
Takeaway: Sweeping memoir of Nigeria, Hungary, and resilient cross-cultural love.
Comparable Titles: E. Dolores Johnson's Say I'm Dead, Mark Whitaker's My Long Trip Home.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
When Karen dies, she awakens in a peaceful place “of rest and nurture” called Paradise. Under the guidance of distant relatives, and guardian angel AJ, Karen undertakes a spiritual journey as entertaining as it is profound (Paradise runs on a “buddy system,” to help newcomers “learn the ropes”), while AJ secretly watches over her family, attempting to steer them toward God’s encompassing light—and away from the shadowy, demonic figures luring them down a path of destruction. The result is a moving story of family, faith, redemption, and love, as Vince explores death—and its rippling impact on the Hill family—through biblical text, references to well-known biblical figures, and famous people from history (including Claude Monet and John Denver).
Beyond a transformative story of the ways love and faith shape life and death, this emotional narrative delves into the turmoil that chronic illness can cause within a family—and the negative vices people can succumb to when bitterness, anger, and heartbreak fester. Vince juxtaposes those grueling human emotions—and the dark feelings attached to death—against the spiritual beliefs of God’s unfailing love, making this an immersive read for Christian audiences of grief and deliverance, both in the living world and in the spiritual afterlife.
Takeaway: Christian study of one family’s journey through grief after the death of a loved one.
Comparable Titles: Mitch Albom's The Five People You Meet in Heaven, William P. Young's The Shack.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: B+
This fast-paced story, illuminating the still-evolving dynamics of the legal marijuana trade during the late Obama years, will captivate readers up for crime, a brisk and canny chatter, and the occasional jolt of action. DeFoe’s tale doesn’t shrink from the gruesome—a human head in a crabbing pot, a devious woman literally fileting a nemesis for food for sea creatures—but employs such details for more than shock; instead, Herbvana demonstrates the lengths to which corrupt individuals will go to protect their interests. The perspectives of supporting characters, such as internet fame-seeking teenager Leaf, solid cops Sarah and John, and Internal Affairs officer Eleanor, are finely drawn, each distinctive and adding depth to the narrative.
Readers will sympathize most with slightly dopey Barry, whose ambition is to share his passion, marijuana, with others to make them happy, while all around him are plotting for their own personal gain. Crooked cop Earl is so odious that readers won’t waste a lot of time feeling sorry for him, reflecting the author’s skill in spinning a world that seems eminently possible. The storytelling is agreeably loose, fitting the milieu, but never slack.
Takeaway: Briskly told thriller of the Washington State weed biz circa 2012.
Comparable Titles: Nick Petrie’s Light it Up, T. Coraghessan Boyle’s Budding Prospects.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
This time around, the action starts in media res, but plural, as the first chapters whisk readers through a host of years, locations, first-person perspectives, and unpredictable revelations as Vincent and his trillion-dollar company Quantum World face his old adversary Philip Naradin, the kidnapping of Vincent’s daughter (and future Quantum World CEO) Nozomi, and the combined forces of the G7, who want what Vincent and Philip control: intreton, the electromagnetically unstable element that powers Philip and Vincent’s wildly profitable innovations.
Readers new to the Time Corrector books should start at the beginning, as this volume draws on a Marvel Universe’s worth of complex, reality-crossing backstory. (Explanatory footnotes help.) Even seasoned readers will likely find the first hundred or so pages a challenge to track, as Datta vaults, in brisk and immersive passages, across years and POVs, with Vincent eventually teaming up with Philip—who is, through timeline shenanigans, also kind of Vincent’s father—to prevent the world’s powers from seizing intreton. Datta loves hinting at Vincent’s plans without tipping readers off too much, and the novel becomes clearer as it goes, building to spectacular set pieces, like Vincent demonstrating a Time Corrector’s powers in the Oval Office, or a quick jaunt through 20th century conflicts as the G7’s fighter jets threaten Philip’s island. For all its doubled selves, corporate intrigue, time-crossed suspense, and reality-in-the-balance epicness, the stakes are human and personal, with a touching ethos of sacrifice powering the climax. Lovers of time-travel complexities will relish Datta’s truly mind-blowing twists.
Takeaway: The most ambitious entry yet in this brain-twisting time-travel series.
Comparable Titles: Jon Evans’s Exadelic, Max Barry’s The 22 Murders of Madison May.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Many of Emery’s poems are prayer-like, referencing scripture and employing hymnal structure, yet some present metaphors that stretch beyond tradition, including “Spring,” in which the speaker sniffs newly bloomed “hyacinth and crocus” and reflects on her faith: “… I wonder, // will He breathe in breath of me, // and smile to sense sweet savors of His Son? // And might my prayers ascend // as incense, pleasing in His lungs?” Rather than hoping God merely hears her prayers, the speaker allows for a sensory expansion of God that implies a relationship beyond verbal exchange, grounded in breath.
The uniting force of this collection is joy for the fulfillment and peace the speaker receives from her faith in God’s love, making it accessible for a wide range of readers. Emery builds the collection on a foundation of celebration, though a handful of poems express views that may polarize some readers, including “Prostitution,” where Emery writes “Whenever—whether out of greed or need— // self seeks self to sell, // self turns self toward facing hell.” Above all, Emery seeks to share her “life-long journey into joy with my loving Father”: “His burning coals transform our minds, // with warming love He realigns.”
Takeaway: Devotional poems celebrating the Christian faith.
Comparable Titles: K.J. Ramsey’s The Book of Common Courage, Morgan Harper Nichols’s All Along You Were Blooming.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
As Virtue faces the challenges of motherhood and an unsettling move to Sweden prompted by her Daavid's new job opportunity, Stockfelt skillfully shifts between Virtue's intimate first-person perspective and Daavid's viewpoint, revealing the complexity of their relationship with empathy and insight. Each perspective depicts touching hesitancy and some limitations of perspective when Daavid and Virtue navigate their marriage and one another’s feelings. When a medical consultation unveils a tumor pressing on Virtue’s pituitary gland, leading to imbalanced hormonal levels, the novel delves into Virtue's struggles with depression, self-harm, and the resulting impact on her relationship with Daavid.
In prose touched with grace and wisdom, Stockfelt explores themes of marriage, sexuality, and the intersections of unhealth, providing a multifaceted perspective on complex aspects of life and a potent critique of gendered ways of thinking and reacting. The shifting dynamics between Daavid and Virtue are a both revealing and emotionally jolting. Epigenesis or Serendipity? emerges as a beautiful and thought-provoking exploration of a woman’s journey, seamlessly blending reflection with an incisive examination of societal norms and expectations.
Takeaway: Intimate, incisive love story of a “womanist” Dominican academic.
Comparable Titles: Nicole Dennis-Benn’s Patsy, Yaa Gyasi’s Transcendent Kingdom.
Production grades
Cover: B
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A-
A parallel storyline finds Lily and Frank Astin reeling from the mysterious disappearance of their son, Jeremy, a young autistic child with dyslexia, causing his parents to fear the worst. As Kaden's true dark intentions are revealed, his life becomes increasingly intertwined with Clay and Jeremy. Coffey's depiction of extraterrestrial body snatchers, the Ocran, is inventive, twisted, and creepy as told through the eyes of the highly unusual Kaden, who possesses a sinister entity lurking just beneath his surface.
The duality of human souls and the cold intelligence from the beings occupying their bodies creates a burning tension as Coffey reveals which characters have been taken over and who will disappear next. As the humans close to those who have been inhabited begin to notice something’s off with their loved ones, Coffey's world building and storytelling shine—juxtaposing the emotional responses from human characters against the cold, calculating action of the nonhuman entities. The irony of young Kaden being a sinister villain lends a horror element to the story, and Coffey delivers heart-pounding terror when unveiling Kaden’s plans for the human race. Readers will be transfixed until the climactic conclusion.
Takeaway: Out-of-this-world science fiction rich with pulse-pounding terror.
Comparable Titles: Jack Finney's Invasion of the Body Snatchers, Stephenie Meyer's The Host.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Dipitous Beach’s residents cope with the aftershocks of the town’s Sickness on their own terms: Lorelei, an amateur oceanographer, finds solace in taking her purple surfboard, Amethyst, out among the hidden underwater caverns of the ocean; New York city transplant Isaac finds himself alone in a new world; Tad, Lorelei’s quiet brother, grows up too quickly as he confronts their mother’s illness; Lorelei’s boyfriend, Casey, chafes against his parents’ overprotectiveness; Condi, granddaughter of a wise yoga teacher, grapples with the growing terror of isolation; and Irish expat Kait longs to leave the America she’s feeling increasingly trapped in. The tale brims with atmosphere, though the many varied viewpoints make for choppy storytelling at times.
The cast is relatable for middle grade readers, and, despite the mishmash of traits and personalities, the story’s framework—built on oceanography, marine biodiversity, and even magic—is intriguing. Abernathy’s use of color as a recurring motif for Tad and Isaac is fully fleshed out and resonates, and the pair’s blossoming friendship is a bright spot in the narrative. The storytelling evokes tranquility and mystery alongside coming-of-age transformations that probe the limits of love and adventure, making this a delightful testament to the forces of friendship and bravery.
Takeaway: An imaginative coming-of-age tale rich with magic, adventure, and friendship.
Comparable Titles: Rebecca Stead and Wendy Mass’s The Lost Library, Tahereh Mafi’s Furthermore.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A