Searching and alive with feeling, Biswas’s novel debut centers the human in the cosmos through the story of Franz Herbert and his remarkable life and career, from college and graduate school for astronomy and astrophysics in the Depression era to his surprise disappearance decades later, as a 65 year old man. Though he spends much of his life in Peoria, Herbert’s mind is most at home far from this Earth. A celebrated astronomer, Franz detected the first black hole in 1930 and also reports that he discovered Pluto, though he acknowledges that it’s not actually a planet. “It doesn’t belong and that is why I have claimed it as my own,” he notes, “For I don’t belong either.” Franz endures epileptic seizures in his adulthood, finding himself captive and witness to visions whenever one grips him.

The seizures, though, evolve for him into something of a form of escape when his life takes several unexpected turns, with Franz believing he “…must depart this void... Or else merge with the emptiness.” Biswas tells the story mostly through Herbert’s own lyric writing, blending the personal (his courtship and marriage with Isabella; his medical travails; his experience of loss) with Herbert’s passion for what’s beyond this Earth, which he explores through science but also visionary “travels.” On PSR B1620-26c, in the Scorpio constellation, he describes how on “an alluvial plain I came upon evidence of another civilization,” while other trips include meetings with Greek gods while he maintains a relationship with the son he never had.

How much can he see, and how much is fantasy? “Within our own bodies is mirrored the universe in which we live,” Herbert muses. There is beauty in seeing Franz’s self-discovery twined with his discovery of the universe—and how the grass is always greener back on the blue planet. But this thoughtful, uncompromisingly literary voyage is for lovers of science, prose touched with poetry, and life at the edges—of the mind, of the universe.

Takeaway: Visionary novel of an astronomer's journey through life and the cosmos.

Comparable Titles: Benjamin Labatut’s The MANIAC, Jack Cheng’s See You in the Cosmos.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

Click here for more about The Astronomer

This revised edition of Bioku’s direct, urgent, deeply personal poetry captures a lifelong quest for rootedness, connection, security, and love in a world that’s too often unjust and a body that can seem to betray the self. “They say work hard and play harder, but I’m not fond of games,” Bioku writes in “Grinds & Flows.” These 70 poems bear out that declaration, finding the poet forever focused on the essential and the elemental. The first half of Untethered Grounds explores the latter, with verses on water, fire, land, and air in four sections, and a poet reckoning with humanity’s place in the natural world: “Forest Moments” relishes “Loveliness undisturbed by human development,” while “Wingspan” funds both relief in time by the sea and prickling reminders of our failures of stewardship over nature. Musing on the plight of the albatross, Bioku notes “Plastic consumes their intestines; they struggle to feed their offspring.”

Bioku’s exploration of natural forces considers beauty, balance, and the cycles of life, but also wildness, including the fires of passion, and destruction, especially in pained evocations of California wildfires (“The hot springs around the corner have begun to boil”) and mudslides, in which homes are “swept away into the weeping ocean.” For Bioku, people can be as strong as the elements. Like her subjects, Bioku’s linework is blunt and forceful, but sweetened with playful parallel structures and bursts of hope, rooted in love.

The collection’s second half offers less conceptual consistency, but Bioku’s considerations of self-perception (“Distorted body image: I never know what or who to believe”), physical and mental health, prejudice and economic injustice, and surprise connections with strangers feel of a piece with the elemental material. While a tendency toward wordiness flattens some lines, this is the work of a poet eager to build something enduring in a hard world, someone who understands the power of love—of self, of others, even of those we must forgive.

Takeaway: Poems of elemental resilience, connection, and the power of love.

Comparable Titles: Yrsa Daley-Ward’s Bone, Clementine von Radics’s In a Dream You Saw a Way to Survive.

Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-

Click here for more about Untethered Grounds

In this entertaining collection, Guiasu (author of The Faraway Mountains) compiles tales that deal with academics, writing, living life to the fullest, and laughter’s ability to diffuse difficult situations. Constructed with an array of different styles, from lists to fake letters, the writing is rich with satire and wit, delivering laugh out loud moments and eccentric characters who jump from the page. Many of the stories focus on school milestones, such as encounters with the resident bully, childish mishaps, and that transitional time between high school and college, with others in the collection simply marking the effervescence of life’s sillier moments.

Guiasu's dry humor—and pontification of the most mundane rights of passage—is delivered with the familiarity of old school mates reminiscing about days gone by. In "The Basement," workers in "the country's largest museum" are placed on a mandatory lockdown until a SWAT team can come and capture a rabid squirrel who has turned the tables on a German Shepherd; in "The Day the Bear Came," two friends on a weekend getaway to the mountains become embroiled in conflict until a hairy encounter with a wild bear restores their camaraderie; and "In the Wilderness, Reading Hemingway," finds Guiasu playing with structure, making use of short, punchy sentences and word play that infuses the text with an appealing rhythm.

With funny memos from human resources, stories that feature primarily dialogue, and random lists, like "Twenty-Five Reasons Why the Chicken Crossed the Road" (to protest feather dusters is one amusing motive), readers are guaranteed some laughs—and sparse moments of deeper reflection, as in “Rolls-Royce Silver Shadow,” where Guiasu analyzes the dynamics of bullying, relating how, rather than fear, he felt “exhilarated and emboldened by an unquenchable thirst for revenge” after being victimized. Humor is the main weapon here, though, and Guiasu wields it to the max.

Takeaway: Eclectic, entertaining collection that probes life’s lighter moments.

Comparable Titles: Chuck Palahniuk's Make Something Up, Beth Lisick’s This Too Can Be Yours.

Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A

Click here for more about A Good Day and Other (Mostly) Humorous Stories and Lists

An adventurous canyon tree frog named Swimmy explores his desert home in this imaginative picture book debut by Nacinovich. One day, as the enthusiastic Swimmy is venturing through the sand dunes, he spots a cactus elf named Myron hunting for ostrich eggs. “Ostrich eggs are the very best. They are also the largest eggs around” Myron declares, prompting an excited Swimmy to join in his hunt. On their journey, the unlikely pair learns about many unique desert creatures, including a slew of red fire ants and “javelinas wearing polka-dot pink pants.”

Myron and Swimmy’s friendship blossoms as they peruse the hot desert dunes together, with Myron patiently answering Swimmy’s endless questions about the curiosities they find, giving younger readers a chance to learn more about the book’s spotlighted natural wonders—like geodes, egg-shaped rocks filled with crystals, and intriguing quartz clusters that Swimmy is convinced are the elusive ostrich eggs. Nacinovich allows Swimmy free rein to query Myron to his heart’s content, and kids will relish investigating alongside this curious, charming frog.

Nadia Ronquillo’s lively illustrations show the two friends happily wandering together through their desolate yet beautiful desert home, complete with pale blue skies and flowering cacti around every turn. Myron resembles a friendly garden gnome with his long, white beard and pointed hat, while the perpetually grinning Swimmy hilariously carries his water in a fishbowl, tied to his back with a piece of rope. Eventually, the two encounter their sought-after nest of eggs—and apparently the ostriches have been expecting Myron, as they left an extra just for him. Kids will be pleased to see Myron transporting the egg to the Big City’s zoo, giving him and Swimmy the chance to explore yet another new environment together in future adventures. This lighthearted tale will encourage kids—and their adult readers—to look for fun and friendship in the most unexpected of places.

Takeaway: Canyon tree frog explores his desert home with a new friend.

Comparable Titles: Conrad J. Storad’s Life in the Slow Lane, Brendan Wenzel’s Two Together.

Production grades
Cover: A-
Design and typography: A-
Illustrations: A-
Editing: A-
Marketing copy: A

Click here for more about The Adventures of Myron and Swimmy

Jenevein sets the tone early in this provocative debut, asserting that, in business, “the modus operandi of the [People’s Republic of China] is to steamroll the little guy—particularly if he’s a foreigner.” Jenevein digs into his tense business dealings with the Aviation Industry Corporation of China, through his own Tang Energy Group, including a hard confrontation after a breach of contract sparked personal threats, FBI involvement, and his need for trained protection. From there, the book unfolds through conversations between Jenevein and author Steve Fiffer, exploring this chilling story of international clout, political leverage, and corruption with an eye on takeaways for the U.S., businesses, and more.

Jenevein’s insider perspective on the practices, ideology, and leaders of China’s Communist Party prove as riveting to read as they are unnerving. In discussing General Secretary Xi Jinping’s hard-hitting advice to young, disillusioned Chinese nationals, Jenevein notes their rising discontent, urging that “for the peace of the world and our own prosperity, our political and commercial leaders can—in fact, they must—nurture relationships with this cadre now.” He discusses the unique traits necessary to succeed as a foreigner in that atmosphere, emphasizing perseverance as critical to clinch even the simplest of deals, and details obstacles such as deliberately inaccurate maps, misleading agreements, an uneven legal system, and a government that encourages “raiding and plundering of foreign assets.”

Though he expects “tensions to grow” between U.S. businesses and the PRC in the coming years, “and for more of those to become disagreements that reach courts,” Jenevein does offer moments of hope, as when he describes “working with good—moral and competent—people in the PRC,” and he points out America’s less than transparent dealings at times. Still, he reiterates a key difference between the two countries: “we intend our laws to protect people from oppressors… the CPC uses laws to protect the oppressor from people.” In closing, he urges “freedom lovers around the world” to unite, insisting they are “dancing with a dragon who we cannot and must not ignore.”

Takeaway: Eye-opening insider’s account of business dealings with China.

Comparable Titles: Desmond Shum’s Red Roulette, Bates Gill’s Rising Star.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A

Click here for more about Dancing with the Dragon

Heavily drenched in the history of the Armenian people's displacement, genocide, and loss of heritage, Karageuzian's emotionally charged memoir tracks her childhood in the mist of the war in Lebanon, alongside her shocking revelations of newly discovered family well into her adult life, after migrating to California in her teenage years. Piecing together lost history from her father's memorabilia and conversations with her paternal grandmother, and with the help of her lifelong friend, Siranush, Karageuzian discovers the backstory of her great-grandparents and long-lost relatives, an emotional journey that transports her through racism, war, and oppression spanning decades.

Karageuzian does not shy away from the gruesome conditions inflicted on the Armenian people in this heart-breaking chronicle of destruction and death. With the dual perspective of hailing from Lebanon and growing up in the United States, she also explores the "devastating" emotions of major historical moments in Armenian and American history, such as the signing of the Treaty of Sevres. As she describes meeting her newfound family, readers glimpse the horrifying, rippling effects of the Armenian Genocide: "[I] realized that they did not speak Armenian, were not versed in Armenian history or the details of the Genocide, and even their last name was changed,” she writes, sharing that she “was overwhelmed with the enormity of the crime committed against my nation."

Karageuzian maps out, from her own lifespan, Armenian history, starting with "the late summer day in 1978, when the first bomb fell" up to 2021, when President Joe Biden "became the first American President to officially recognize the Armenian Genocide in the annual White House statement on Armenian Genocide Remembrance Day.” Though the topic and subject matter is tragic, Karageuzian writes about her family's background and culture with pride and great care, fashioning this into a well-documented homage to her Armenian heritage. Fans of historical memoirs intertwined with family histories will be captivated.

Takeaway: Impassioned historical memoir charting the devastation of the Armenian Genocide.

Comparable Titles: Fethiye Cetin’s My Grandmother, Aram Haigaz's Four Years in the Mountains of Kurdistan.

Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

Click here for more about Forbidden Homeland: Story of a Diasporan (Black & White Interior)

An intimate epic of Second World War espionage, Wallace’s slow-burn thriller finds the Allied Powers impressing an American intelligence analyst into tense, tricky spy work: posing as a Russian NKVD officer who, under the nose of the Gestapo in a Stockholm hotel, must re-activate a high-ranking Nazi who reportedly used to spy for the Communists under the identity GALILEO. The operation is a false flag, though, and the target, Admiral Constantine Diefenbach, must be convinced he’s spying for the Russians rather than the Allies. At stake is nothing less than “the details of German plans to repel the Allied invasion of the European coast.”

But for all Wallace’s rich depictions of the work of intelligence agencies, analysts, spy handlers, and more—including a suspenseful thread about a reluctant Nazi officer trying to make sense of interrogation reports that read like gibberish—the heart of this engaging novel is Linnea Thorsell, the multi-lingual young woman tasked with pulling off the deception. Linnea saw enough devastating conflict and loss. Now, this Dostoyevsky-quoting analyst fluent in Swedish and Russian but untrained in spycraft would prefer a quiet life. But, as she puts it, “I wasn’t asked, merely informed.”

Much of the novel’s first half concerns her rushed training, over 12 days, from boxing to role-playing, and Wallace (author of The Man Who Walked out of the Jungle) deftly charts her development, fears, incisive insights, and relationships with the men in charge. “The last thing you want is to let that fickle imp serendipity out of her box,” one of those handlers snaps at her when, in the field at last, she demonstrates savvy initiative. Worse than serendipity: the fact that the Nazis have wind of something in Stockholm. Wallace stages hair-raising but convincing setpieces and surprises, plus fascinating context about the trade, various nations’ operations, and how life felt, in the everyday and when facing great danger, for people with secrets on all sides of the war.

Takeaway: Superior spy thriller sending an American woman undercover in 1944 to turn a Nazi.

Comparable Titles: Ken Follett, Ben Macintyre.

Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-

Click here for more about The Thousand-Year Spy

This gripping and atmospheric mystery blends the coming-of-age narrative with supernatural elements, following Colin, a blind college freshman grappling with his father's mysterious disappearance, his mother's remarriage, and an unexpected ghostly presence in 1970s Philadelphia. Fleming (author of When Courage Comes) crafts a believable and intriguing dynamic between the living and the dead through Colin’s supernatural companionship with Pete, a spirit unaware of his past but clearly belonging to a former time, who functions as a guide and protector for Colin, but has a “hot and cold personality [that] can be exhausting.” Fleming uses Colin’s blindness to create a unique channel of perception, making the ghostly interactions feel organic and integral to the story.

Pete's limited knowledge about his own past adds an extra layer of mystery, turning him into both a source of information and a puzzle to be solved, and Fleming expertly balances multiple threads of intrigue—Colin's missing father, Pete's hazy past, and the secrets lurking in Colin's family—to create a complex web of clues and revelations. The pacing of these revelations is particularly well-handled, with each new piece of information raising as many questions as it answers, keeping readers engaged and guessing until the final pages. Fleming generates depth for the investigative aspects of the story with the addition of Colin’s cousin, Katie, and the pair’s collaborative efforts to unravel the story’s mysteries—a realistic and engaging approach to amateur sleuthing, grounded in the limitations and resources available in the ‘70s.

The novel's exploration of "telling a thumper"—a clever lie with serious consequences—adds a moral dimension to the mystery that elevates it beyond a simple whodunit. This thematic element intertwines with the plot in unexpected ways, challenging readers to consider the long-term impacts of deception and revenge. The ending is shocking, the perfect culmination for this electric story.

Takeaway: Richly textured mystery exploring the sometimes murky path to truth.

Comparable Titles: John Connolly's Charlie Parker series, John McMahon’s The Good Detective.

Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A

Click here for more about Telling A Thumper

Readers will fall in love with the power of words in this delightful offering by Davis-Gibbon (author of My Old Friend, Then) that explores how we use words to communicate, express emotions, and interact with the world around us. A lively park forms the setting, filled with energetic kids, parents, and, of course, oodles of words springing around the playgrounds and park benches. Some of the words are purely for fun—like the cool-as-can-be “zig and zag,” sporting awesome sunglasses and sneakers as they skateboard around the park—while others carry more serious connotations, as in the swarm of angry bees forming words like “mad” and “mean.”

Based on the idea that “words are a lot like people… each one is awesome just as it is,” this colorful story will open a new world for younger readers. Anne Berry’s soft, textured illustrations are the perfect medium, showcasing words carved out of the natural surroundings—such as the caterpillar whose body spells out “understand,” or the tree branches shaped into “sorry”—alongside those fashioned into characters who interact with children in the book. Those still learning to read will relish hunting for, and sounding out, new words as they browse the story, and adults will appreciate Davis-Gibbon’s attention to how words can both hurt and heal.

The ending empowers youth to have a voice, with a young girl “speak[ing] those words that you know tell the truth,” and Davis-Gibbon reminds readers that voicing their emotions is often the first step to understanding them. Some of the word characters are challenging to decipher, but still, this is a unique approach to instilling a love for language in children—and a friendly reminder for readers of all ages that “words can be tricky but they’re always here waiting for you… to help you shine YOUR special light into the world.”

Takeaway: Delightful story illustrating the power of words.

Comparable Titles: Peter H. Reynolds’s The Word Collector, Lisa Chong’s When Words Have Power.

Production grades
Cover: A
Design and typography: A
Illustrations:
Editing: A
Marketing copy: A

Click here for more about Words

Federico, “a naughty boy whose manners [will] not do,” gets a rude awakening in this entertaining picture book debut by Van Every. When he refuses to follow the rules at home, Federico’s father finally loses it—and sends him to the infamous Madame Giroux, “the strictest teacher in all of France.” Madame Giroux, who lives in a foreboding mansion perched on the pinnacle of a hill in the town of Vence, definitely looks the part: her lips are pursed, she’s hopping mad, and her face is fixed into a permanent scowl. Unfortunately, that gruff exterior doesn’t have the desired effect on young Federico, who insists on learning this lesson the hard way.

Jason Doll’s bold illustrations flawlessly channel the mock seriousness of Federico’s situation, painting his time at Madame Giroux’s boarding school in cool, somber shades, broken up by the occasional bright splash of color—as when Madame Giroux, without her trusty eyeglasses thanks to Federico’s endless pranking, concocts a serious mess in the kitchen, a scene that hums with shades of viscous green goo and an array of ominous cooking utensils. That prank, of course, backfires on Federico, who quickly finds out a madame who can’t see is a disaster waiting to happen—especially when it comes to his mealtimes.

Natural consequences eventually teach Federico the manners his family’s been hoping for, and astute readers will speculate just how much of that lesson Madame Giroux may have planned out. The end result is a Federico who “says his please and thank yous, just like all children should,” a valuable exercise in the appeal behind social graces. Kids will especially appreciate the imminent relatability of Federico—a young boy too focused on having fun, who doesn’t quite think ahead to the aftereffects of his actions. This is sure to be a hit with readers of all ages.

Takeaway: An impeccable celebration of good manners.

Comparable Titles: Jane Yolen and Mark Teague’s How Do Dinosaurs Show Good Manners?, Pat Zietlow Miller’s Be Kind.

Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A

Click here for more about The Strictest Teacher in All of France

Baumann (author of Hola, Amigos! A Plan for Latino Outreach) offers a timely, optimistic overview of the efficacy of using a multicultural storytelling framework to improve workplace conditions, hone leadership abilities, hire and interview well, and build pathways to success, both for business leaders and anyone eager to present their best self in the workplace. A film buff, Baumann often uses movie references to illustrate the power of narratives to drive home themes and messages, while also drawing on a hearteningly diverse range of cultures and examples—global soap operas, vigilante thrillers, American dramas about “the rich and the ruthless”—and always taking care to note that “your culture of origin might define how you approach these themes.”

Among much practical advice on honing and delivering a message, Baumann also weaves her own story into the guide, revealing a tale of “living through over 20 years of military dictatorships in Argentina” and immigrating to the U.S., the narrative persuasively exemplifying the techniques Baumann lays out. These methods are rooted in authenticity. Baumann demonstrates how to use a persona to shape a personal brand, develop characters in one’s story, and develop and demonstrate individual leadership styles and one’s connection to an organization’s culture. Prompts, questionnaires, and thought experiments offer actionable steps towards the construction of their own “personal brand statements,” which act as anchors for their narrative frameworks. Throughout Speak Up, Baumann also offers incisive social commentary on navigating and dismantling systems of oppression in the workplace.

Touching on microaggressions related to racism, sexism, ageism, cognitive biases related to stereotypes, and the ways systems of oppression like patriarchy and white supremacy affect the success of marginalized people in the workplace, Baumann offers a refreshing methodology on how to turn differences into assets. Baumann encourages entrepreneurs to show their clients, coworkers, and customers who they are through authentic storytelling, sharing “the stories that can help us all heal.”

Takeaway: Wise guide to multicultural workplace narratives that make assets of differences.

Comparable Titles: Elaine Welteroth’s More Than Enough, Nely Galán’s Self Made.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

Click here for more about Speak Up! Tell Your Story to Influence Others

Kaufman’s beautiful tale of a young monarch butterfly on its maiden journey from her home in North America to the Transvolcanic Range near Mexico City for the winter is resplendent with hope and the brilliance of the natural world. The story starts with the butterfly’s birth, as she learns to unfurl her wings and leave her “leafy jungle” to seek shelter for the night. From there, she undertakes the daily activities of monarchs, including sipping nectar, keeping company with bees, and joyously taking to the sky, “spread[ing] her wings like an eagle and spiral[ing] up in a tunnel of warm air.” But when the weather turns colder, the young butterfly realizes she has an arduous, uncertain journey ahead.

Nature’s stunning synergy is on full display here, as readers learn the intricacies to monarch survival, from their need to find a warm place at night to their innate sense of direction that guides them yearly to a toasty volcanic region in Mexico for safe harbor during North America’s changing seasons. Kaufman emphasizes the monarch’s fascinating resilience throughout, as she follows other butterflies to her winter destination—and manages to reconnect with the group even after she’s blown off course, into a desolate desert. Always, the story’s star depends on her community for survival, and Kaufman’s depiction of this balanced harmony will speak volumes to younger readers.

Natural photography created by various artists dots the landscape of Kaufman’s debut in an effort to bring the monarch’s journey to vivid life: a curious-eyed ocelot provides a safe place for the monarch to pass a chilly night, fir trees are carpeted in tangerine waves of monarchs seeking heat, and wildflowers are rendered in flashy colors across lush meadows. The butterfly’s journey starts anew at the book’s close, when she carefully places her own eggs, knowing “Her young would find their way. They came into the world knowing many things.”

Takeaway: Delicate rendering of a monarch’s maiden voyage to Mexico for the winter.

Comparable Titles: Carrie A. Pearson’s Stretch to the Sun, Katherine Pryor’s Home Is Calling.

Production grades
Cover: B
Design and typography: A-
Illustrations: A
Editing: A-
Marketing copy: A-

Click here for more about The Monarch's Message

Weber’s brisk, engaging SF debut, the inaugural novel in the Vinyi Chronicles, plunges readers into a vividly imagined future where humanity has extended its reach to Mars. During the third wave of colonization, linguist Michelle Arensen moves to the red planet for a “romantic reunion” with her husband, Dave, plus her mouthy teen brother, Phil. But Michelle’s life is upended when she encounters (and seems to be kidnapped by) a sentient and menacing alien species with advanced technology, propelling her into a harrowing struggle for survival within the enigmatic Vinyi empire.

Weber crafts a gripping narrative, rich in descriptions of Mars’ alien terrain and the minutiae of daily life but also powered by Michelle’s amusing, slightly over-it voice (“The lithe purple bastards were stronger than they looked”), effectively setting the stage for this otherworldly adventure. Found further humanizes the interplanetary saga through Michelle’s personal relationships, exploring themes of loss, and the new bonds of solidarity she forms in the alien world. This is as much a journey of shifts in Michelle’s surprising experience as the first human to have alien contact as it is about grappling with the loss of her family and the life she once knew. The novel stands out for its deft incorporation of Vinyi terminology and socio-political structures, which add depth to the narrative and help readers empathize with the characters.

As Michelle navigates life-threatening challenges that keep the tension high, the intricacies of Vinyi society come to the fore, especially during the Council proceedings, where Michelle seeks asylum—a sequence that highlights underlying themes of immigration and animal testing, all reframed within a planetary context. This thematic depth, combined with the fast-paced action, makes Found a refreshing and thought-provoking read. This promising series starter blends compelling SF adventure, social commentary, and strong characterization.

Takeaway: Fleet, smart, character-rich SF debut, exploring an alien society.

Comparable Titles: Ada Palmer’s Tera Ignota series; Ann Leckie.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

Click here for more about Found

To help young readers understand how addiction affects families, interfaith minister Lockwood spins a tale of a troubled king, harboring a “shadow of sadness” that casts a terrible pall on his life. The king, who loves his queen, children, and even his “spunky little dog,” is desperate to cast off his shadow; so desperate, he falls prey to a dangerous new pastime: playing at the quicksand pit with some ill-intentioned friends. Though he reassures himself that “nothing bad can happen to me,” he soon realizes even a king’s not immune to the monster lurking in the pit—a monster that feigns friendship but quickly takes over his entire life.

The king’s downward spiral is painful to behold, and younger readers would benefit from adult support when reading this pensive story. As he transforms into a monster himself, his family suffers, and the king slides further into the abyss, eventually crying “I miss my happy life! I want my family back… Somebody, please help me get away from this Monster!” Lockwood accompanies the heart wrenching text with stark renderings of the king’s monster, a black, sinister cloud that infiltrates his world, swelling in size until it consumes the entire page.

Just as the king reaches his breaking point, his Guardian Angels—who have watched over him since he was young—step in with a lifeline, sending him to the kingdom’s Wisdom Tree for help. That help means the king must move to a Healing House to recover, an important sobriety step that Lockwood skillfully portrays through sketches of his family’s sadness and bewilderment at his absence. Lockwood ties in other well-known Alcoholics Anonymous tenets as well, including depending on a higher power, as the king eventually heals and learns skills to keep his monster at bay, returning home to his joyful family. This is a heartbreaking—but necessary—read for any families facing addiction.

Takeaway: Powerful introduction to the impact of addiction, for younger audiences.

Comparable Titles: Laura Washington’s A Sickness You Can’t See, Anthony Curcio’s Critters Cry Too.

Production grades
Cover: B+
Design and typography: A-
Illustrations: A
Editing: A
Marketing copy: A-

Click here for more about The King and the Monster

Tense, surprising, and powered by grand surges of feeling, Ares’s hefty follow-up to Love and Other Sins finds her Los Angeles young couple, Mina and Oliver, relishing a few moments of happiness after having helped each other, in the first book, put the past in the past and face what’s coming, together. What’s coming, though, is something neither anticipated. While Oliver tries to stay on the right side of the law despite his involvement in a somewhat shady electronics resale hustle, Mina faces sudden, savage danger: her father has earned the enmity of Russian gangsters, who burst into her home, guns blazing. Mina’s mother is shot in the encounter, and soon is hospitalized and comatose, while Mina reels with fresh trauma—to save herself and her mother, she had to kill.

Ares favors steely protagonists who, in spite of past trauma, make hard choices, and what her heroes go through here is wrenching but exciting, especially in the propulsive first half. After a consultation with a mysterious lawyer, Mina is forced to make two unthinkable choices: first, to allow herself to be kidnapped by this RBOC (Russia-Based Organized Crime Group.) Second: to push Oliver away, for his protection. Of course, after some lushly romantic stolen moments, Oliver is on the case despite her protestations, even as Mina is captured and jetted off to parts unknown, where she endures torture, attempted sexual assault, and the pain of not knowing how her mother’s doing. Ares brings real power and fear to these scenes.

Mina’s resilience and savvy gamesmanship in her captivity scenes offer thriller thrills, and Ares keeps the pages turning with brisk dialogue, frequent twists, and a smart dual-perspective structure, switching from Mina to Oliver. The novel is long, though, and in its second half it feels that way, especially as the story edges into a different thriller subgenre with an expanded cast, milieu, and spy tech, all introduced late in the game. The urgency returns, though, in a strong climax.

Takeaway: Sprawling romantic thriller of a young couple, hard choices, and Russian gangsters.

Comparable Titles: Mia Sheridan; Karin Slaughter’s Pieces of Her.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A

Click here for more about Love and Other Cages

Everyone has something that makes them special, even if it’s not immediately apparent. In Emerson’s encouraging picture book for young kids, a little girl named Haley considers what makes her unique. When Haley’s teacher asks her class to write down what they think makes them stand out, her diverse group of peers gets excited and starts naming their favorite attributes—one boy celebrates the fact that he speaks both English and Spanish, while other classmates joyfully point out that they wear colorful glasses, have red hair, are originally from Nigeria, or have a twin. Haley, meanwhile, can’t think of anything unique about herself, which causes her to become dejected and retreat into her beloved sketchbook.

Finally, Haley realizes that the smudges always covering her hand after she draws or writes a story are the key to her distinctive quality. She gains this new point of view when one of her classmates comments on her artwork and says the smudges look cool, which Haley has never considered before—she’s always seen them as messy. Unlike most of her classmates, Haley is left-handed, which means the side of her hand drags over the pencil marks she makes in her notebook. Watching Haley’s perspective shift from frustration to pride will help kids reconsider how their own challenges and differences can also be strengths.

Kim Soderberg’s expressive illustrations follow Haley on her journey from discouragement to enthusiasm, with her emotions clearly visible on her face in each scene. Wearing a purple striped sweater, Haley appears most relaxed and happy when she’s doodling, writing jokes, or imagining stories in her favorite notebook. The smudges in Haley’s drawings seem to lovingly enhance her colorful sketches of unicorns, butterflies, and bees, which will give kids and adults the opportunity to discuss and celebrate their own one-of-a-kind qualities.

Takeaway: A little girl named Haley considers what makes her unique.

Comparable Titles: Cale Atkinson’s Where Oliver Fits, Laura Gehl’s Except When They Don’t.

Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A

Click here for more about Smudges