The Devil’s Kiss oscillates between Tom’s late-1990s perspective and that of seventeenth-century Israel Hands, a woodcarver-turned-pirate who commits his first murder at age twelve out of a drive for familial vengeance. Israel’s life and the Stonecroft Inn are intimately linked, and these shifting points of view—well marked by chapter headings—illuminate the mystery at the heart of the novel. Like Tom, readers will be unable to shake the eerie feeling that suffuses the inn, but through Geerer’s skillful intermingling of the two timelines they can better understand the connection between past and present. While some may be put off by the unstinting depiction of the bloodthirstiness of privateer life, most will find Israel’s story just as gripping as Tom’s—and surprised at how their histories link together.
The darkness of some details, including some graphic murder scenes, mean that this adventure is best-suited for young adult or older audiences. Geerer’s blend of history and intrigue alongside a truly likable protagonist ensure that fans of ghost stories, cozy mysteries, pirate fiction, and historical drama will find much to love here, including a richly rendered settings and plot twists that will keep readers guessing.
Takeaway: Pirates, puritans, and a modern mystery collide in this delightfully spooky debut.
Great for fans of: Michael Crichton’s Pirate Latitudes, Taci Wilton’s Mrs. Morris series.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: B+
Marketing copy: B-
Lauerman effectively sheds light on these neglected and overlooked female and BIPOC soldiers–many of whom were ultimately denied Veteran status by their government–without romanticizing the Great War and its tragedies. Despite the title’s emphasis on stories, the book’s tone and structure suggests an inviting textbook, offering sidebars and well-chosen illustrations that illuminate concepts like “no man’s land” or terms like liberty bonds. Like a textbook, this extensive, meticulously researched account at times places more emphasis on historical events than on the humanity of the participants. Words straight from the subjects themselves are illuminating but appear mostly as block quotes, so these insights and details aren’t woven compellingly into the storytelling. Lauerman leaves it to the facts, the photographs, and the feats themselves to sell the stories.
Overall, Lauerman’s lost stories uncover rarely heard chronicles of soldiers, linemen, “flying schoolgirls” and more, accounts that will open readers’ perspectives to the innumerable forgotten heroes of the era. For young students and World War buffs alike, Lauerman’s celebration of the “plucky” courage of individuals who “put their personal safety aside” and often “defied authority” will entertain and inform as it provokes further in these too-often unsung heroes.
Takeaway: An inviting celebration of forgotten acts of bravery by overlooked heroes of the great war.
Great for fans of: Michael Morpurgo’s Only Remembered, Tony Bradman’s Stories of World War One.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: B+
Marketing copy: A
Shifted: Book One of the Shifted Series
Due to its unique perspective, the story sometimes feels limited, especially in terms of access to Kade’s actual thoughts and emotions. That being said, hearing exclusively from Anaya’s viewpoint invites readers to feel just as frustrated as she does with Kade’s inability to hear or heed her messages. Vetovich seizes the opportunity for amusing reflections and asides, such as when Anaya brags about helping Joan of Arc live out her purpose. Anaya’s big picture mindset also opens the story to moral questions at a higher scale than Kade is capable of comprehending, questions explored in Anaya’s relationship with Jordin, her former best friend and soulmate, who has shifted to the enemy side of this war.
The world of Beta-Siberia is not rendered in vivid color or expansive detail, but fittingly so, as Kade only has access to his lived experience in his development, and the Association (the governing authority) doesn’t teach much history or geography. Even with otherworldly discussing philosophy and religion, Shifted is a fast-paced and absorbing fantasy adventure that’s sure to capture the interest of teens who enjoy fantasy with moral intrigue.
Takeaway: A fast-paced and unique take on the hero’s quest that grapples with political and moral questions.
Great for fans of: Gareth Hanrahan’s The Gutter Prayer, Leigh Bardugo’s Six of Crows.
Production grades
Cover: A
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A
As she prepares for her introduction to society, August finds herself developing feelings for Brooks, who takes responsibility for her well being and ultimately returns her affections—despite his assertion that “I will never marry. Unlike you, I find the idea of family vastly overrated.” The chemistry between them feels tepid, but he’s far from the only character who is instantly and inexplicably charmed the ascendant lady. Aside from those whose self-interests conflict directly with hers, August is almost universally accepted and supported by almost everyone she encounters, including the noblewoman mother who was forced to give her up at birth. These relationships and alliances seem to coalesce around August effortlessly, diminishing the story's tension and complexity, though for some readers this may prove appealing.
Despite the relative dearth of interpersonal conflict, Michaels’s (The Land Steward’s Daughter) romance structure is sound, the dialogue is crisp and polished, and the hero and heroine face legitimate obstacles to their budding relationship that they must overcome. Those who enjoy their romances seasoned with angst should look elsewhere, but readers seeking sweet, upbeat love story with a light touch and a dash of historical flavor will enjoy this Cinderella tale.
Takeaway: Readers looking for an uncomplicated historical love story will be satisfied with this literary confection.
Great for fans of: Sally Britton, Laura Rollins.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
Enemy Combatant
Against a realistic backdrop, Winner masterfully sets absurd characters in absurd scenes, highlighting the confusion in the characters' lives as well as the insanities of war. An incompetent American soldier they sneak up on initially assumes, from their put-on accents, that they’re Arabs, so Peter starts channeling tough-guy talk he vaguely recalls from old Kojak episodes–and pauses to reflect on the odd fact that both he and the soldier originally come from Virginia. The duo’s freed prisoner turns out to be as lost, physically and emotionally, as they are, and the police Peter and Leonard come up against are not thugs, just men trying to get through the day. Winner offers readers no heroes and no villains, but the characters never fail to engage even though the storytelling occasionally falters with awkward flashbacks.
Peter comes across as especially complex and appealing. Even with his obsessions and addictions, he longs for his wife and favors the language of a poet, not a freedom fighter: He travels with "Sarah’s shirt, the one that smelled so reassuringly of the soap she used." Despite his poses, he can’t forget who he really is–"the man on Manhattan Avenue who played with the fat cat at the local bodega…" As Peter desperately tries to get home, Winner makes clear that the most rewarding journeys are those we take within ourselves.
Takeaway: The troubled characters in this brisk story of the absurdity of war will resonate long after readers finish the book.
Great for fans of: David Abrams’s Fobbit, Phil Klay’s Missionaries.
Production grades
Cover: A-
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: B+
Setting the book apart is his focus on physical and mental self-care: “I’ve seen far too many middle-aged nonprofit leaders who were overweight smokers and whose cynicism and jaded perspectives lived right below the surface of their ossified idealism,” he writes. Attentive to the particular challenges facing leaders in his field, Counts urges readers to commit to hobbies, to “live generously” in their personal lives, and to practice gratitude, suggestions he illustrates with clear, compelling anecdotes. One breakthrough he recounts, in work and in life, has been learning to recognize that people are who they are: “I expected everyone to be motivated, demotivated, amused, saddened, inspired, and troubled by roughly similar things as I was,” he writes. This insight helped him grow beyond that assumption: “every person was a riddle to be solved, joyfully.”
This updated edition closes with a new chapter, inspired by the era of the coronavirus, that centers on nonprofit leadership in a society-wide crisis. Crucially, Counts encourages his readers to take the long view, avoid overreacting, and demonstrate grace and understanding to stressed or even angry supporters. Having faced crises every decade of his career, Counts suggests that nonprofit leaders should anticipate, during boom times, that a bust is inevitable and manage rainy-day funds accordingly. His book offers hard-won insight and guidance to nonprofit workers and leaders committed to living lives of meaning–but not lives of needless stress.
Takeaway: This practical memoir and guide balances nonprofit work with self-care.
Great for fans of: INCITE!’s The Revolution Will Not Be Funded, Dan and Chip Heath’s Made to Stick.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
The novel spans decades. Peter’s return home is tumultuous–though he misses Elizabeth, one night of drunken sex back in Mississippi results in a crisis and a hasty wedding. Finally, many years after he last saw Elizabeth, Peter contacts her in hopes for a chance to reconnect. Nicols seamlessly depicts the historical events surrounding World War I and the debilitating conditions faced by soldiers on the battlefield, but despite ample physical descriptions of the characters and colorful accounts of their youthful exploits, he largely avoids exploring their emotional depth. However, the relationship between Peter and Elizabeth, a primary focus of the plot\, is well-developed as their innocent flirtation escalates into a full-blown romance.
Nicols’s use of rural Mississippi vernacular common during the early part of the 20th century is spot-on and adds realism, and his familiarity with small-town life gives readers a convincing window into the characters’ existence. The narrative is fast-paced and immersive, and while the language is not highly descriptive, its concision is welcome. Fans of long lost love will appreciate the sincere bond between Peter and Elizabeth as they navigate the ups and downs of rediscovering each other.
Takeaway: An endearing story of an American World War I veteran who, despite the passage of time, cannot forget a British nurse.
Great for fans of: Lauren Willig’s Band of Sisters, Ann Howard Creel’s Mercy Road.
Production grades
Cover: A
Design and typography: A-
Illustrations: N/A
Editing: A
Marketing copy: A
While a few vignettes focus on other members of the narrator’s troop, much of the narrative is, by Buccellato’s admission, based on his own experience. This often works in his favor: The deeply personal chapters centered around Vietnam capture the cruelty of war with insight and even beauty, while his accounts of facing death—the sensory overload that comes with watching a friend die—are horrifying and resonant. He intriguingly blends fact and fiction, but what will matter to readers is the mastery over detail Buccellato demonstrates throughout. The narrator describes, during an evacuation, taping his dog tags together to make himself as silent as possible, a little moment that reveals so much.
The sections covering the narrator’s later life (focusing on his marriage, health issues, family, and monetary success) are sprawling and lack the specificity of his war-related episodes. The language becomes less clear, the anecdotes less compellingly connected, and extraneous details cloud the narrative. Buccellato’s time jumps can be confusing, and the choice to identify the narrator only as “he” results in some awkward sentences when other "he"s enter the picture. But despite some stylistic shortcomings, this is a powerfully intimate rendering of a man, his life after the war, and the ways in which it changed him forever.
Takeaway: This absorbing autofiction explores the effects of the Vietnam War through the eyes of an ambitious protagonist.
Great for fans of: Nico Walker’s Cherry, Rick DeStefanis’s Valley of the Purple Hearts.
Production grades
Cover: C
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: B-
Seamlessly combining charming yet realistic artwork, cute rhymes, and educational content, CarrieAnne has created a picture book that kids will want to read over and over. The book stays fresh despite its repeating structure: It asks the same question ten times, but to a succession of new, vividly rendered butterflies, who each offer an answer that’s alive with color and surprises. The final pages identify each of the butterflies (black swallowtail, great spangled fritillary) and flowers (purple snowpea, blue forget-me-not) depicted in the book, plus offer colorful count-along pages in which butterflies appear in rows correlating with the pages they upon which they first appeared.
As a children’s librarian, CarrieAnne understands how to grab and hold children’s attention at reading time. This work of love smartly offers repeating but not boring rhymes, eye-catching watercolors, a variety of vibrant natural subjects, and the additional fun of counting. A climactic illustration depicting a child isn’t as appealing or lively as the book’s abundant butterflies and flowers, but the author/illustrator’s passion for reading and the outdoors comes through splendidly.
Takeaway: Young readers will adore learning about butterflies and counting with this watercolor picture book.
Great for fans of: Dianna Hutts Aston’s A Butterfly is Patient, Jerry Pallotta’s Butterfly Colors and Counting, Susan R. Stoltz’s Let’s Count Butterflies.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
This is an action-packed novel with a strong heroine, a likable cast, and an engaging central case. The pacing is strong, and the narrative possesses that ineffable quality that can only be called “readability.” Vince’s death is mysterious, and Kelly proves adept at thinking it through: “Had it been raining that night? There were no streetlamps. Nothing to illuminate the road except for two headlights piercing the void. The rubber of his tires leaving solid ground. Sailing. Dropping. Hitting tree limbs on his way down. The jolts waking him. Had he realized in that moment where his car would land?”
Keliikoa vividly draws these characters. It’s easy to like Kelly, who recently lost her father, and to feel why her mother—who faces some danger once the mob gets wind of Kelly’s investigation— means so much to her: “My mother didn’t say as much in words as in action. Reassurance came in the form of a longer hug, brushing my hair, one-sided conversations where I rambled on about my fears that I’d never be pretty. Or skinny. Or normal.” This swift, exciting thriller hits its marks in mystery and action, but the heroine is what will stick with the readers after the last page.
Takeaway: An appealing detective and nice twists and turns enrich this mystery.
Great for fans of: Jennifer Hillier, Shannon Kirk.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Alvarez brings to this epic fantasy an ambitious, philosophical bent, a resonant clash between generations, and a colorful, highly visual aesthetic. That emphasis, though, comes at the expense of deeper worldbuilding and character exploration. As his characters visit interesting locales, Alvarez paints vivid pictures with an eye for detail but neglects the cultural and social details that invited readers to feel invested in a living, breathing setting.
The same can also be said for his characters, who wax poetic about good and evil, light and dark, but never quite feel like real people. Instead, Alvarez uses them to explore his philosophical concern, a spiritually charged struggle between sin and virtue. The juxtaposition of religious and human elements makes for an interesting thematic core but doesn’t quite carry the narrative, which tends to skip quiet moments in favor of action and high drama. A sudden time jump late in the story may even leave readers wondering if they have missed some crucial developments. Still, the premise has potential and the author’s use of color throughout is impressive.
Takeaway: This philosophical fantasy will appeal to readers seeking vivid clashes between light and dark.
Great for fans of: Brent Week’s Lightbringer series, L. E. Modesitt Jr.’s Recluce series.
Production grades
Cover: B+
Design and typography: B
Illustrations: N/A
Editing: B+
Marketing copy: B-
Abad’s best work is illuminating and memorably composed, offering vivid glimpses into the intimate moments of others’ lives. But the collection offers little in the way of a throughline — in addition to photos of children, there are photos of buildings, cityscapes, and even aerial views. An introduction makes clear that the book is intended to introduce children to new cultures, experiences, and ways of living, inspiring a love of travel and a curious nature in young “trail-blazers, dreamers, and problem-solvers.” In the digital era, of course, people are far more global than ever; children are likely to have seen material similar to the images contained in this book.
The most engaging photographs here offer uncontrived looks at the countries of his travels, suggesting something of the essence of the everyday. Occasional photos of Abad’s own kids add a nice personal touch. His city photography in particular is striking. Abad’s collection combines humane and tender portraits of families, children, and locals with impressive landscape work. For those interested in glimpses of youth culture in Africa, Asia, and Latin America, this offers a welcome point of entry.
Takeaway: This book of travel photography, focusing on children around the world, will appeal to globetrotters and curious kids alike.
Great for fans of: Steve McCurry, Brandon Stanton’s Humans.
Production grades
Cover: A-
Design and typography: A
Illustrations: B+
Editing: B+
Marketing copy: A-
Children will find some of the parrots’ snacks amusingly gross–cherry breads with roaches, for instance, as well as cantaloupe pudding and cricket cookies. Young kids will also laugh as the birds repeatedly misinterpret each other, as by the time the message reaches the yellow parrot it has gotten garbled into “lime bowl cupcakes topped with chilies and beans.” There’s a good chance this goofy tale will spur a real-life round of Telephone with family or friends, making it an appealing choice for keeping youngsters entertained on long, lazy afternoons. The rhymes are a bit forced or awkward at times (eat/sweets, icing/green), but preschoolers are unlikely to notice.
Sojka’s simple, cheery illustrations rely on simple shapes and do not incorporate much detail or depth. Young children will easily recognize the parrots and their food, but the images are presented without context, with each page utilizing the same vaguely leafy, dark green background. Although parents will appreciate the story’s message about friendship, what matters most is this tale’s sense of fun and whimsy, which will inspire the kids to play their own games and make them want to read the book more than once.
Takeaway: This whimsical storybook about a colorful group of parrots having a picnic offers a playful take on a favorite children’s game.
Great for fans of: Mac Barnett's Telephone, Courtney Dicmas's Harold Finds a Voice.
Production grades
Cover: B
Design and typography: B-
Illustrations: B+
Editing: B-
Marketing copy: B-
The story unfolds as Terrell puts into motion complex plans that skirt the law and demand Mikey attempt “some role playing, some being somebody else.” Although well-respected and known for holding high ethical standards, Terrell has no problem navigating between Southern high society and seedy, criminal elements. As the plot grows more complex, Terrell encounters a diverse cast of quirky characters, notably independent insurance investigator, Gigi Faye Erin, and bartender Val, whose speech is “a thesaurus of profane combinations.” The interaction between Terrell and other key characters makes for lively, uniquely Southern dialogue: “She’s seen me get my ass handed to me so many times, it’s got calluses deeper than leather knobs on it.”
Terrell’s personal and relationship problems come across in vivid prose: “Lee Ann had become a frenetic harpy and Eddie had become a workaholic, self-possessed, schizoid, a ducking and diving bastard.” With historical events and knowing references to Chapel Hill, Myrtle Beach, Fort Sumter, and other Carolina landmarks, Glenn crafts a tale that oozes with distinct Southern charm; if the pacing is at times erratic, it mirrors Terrell’s own wandering mind. Still, the spicy dialogue, witty innuendo, and details of Terrell’s scheming and love life will keep readers glued to the final page.
Takeaway: Fans of crime and legal thrillers will savor this novel’s eccentric Southern flavor and an enticing big-score plot.
Great for fans of: John Grisham, Carl Hiaasen, Janet Evanovich.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Strickland argues that Wonder Woman’s Amazonian training prioritizes peace and personal improvement rather than violence, and that the hidden Amazon society that created the hero should have no connection to the patriarchy. Her tone is unapologetically fannish, sometimes suggesting an insider posting to other diehards rather than a guide for general audiences. Indeed, the prose is at times message-board casual: The writing is digressive, with abundant personal asides, and Strickland gleefully employs internet abbreviations like “imho” and often uses her catchphrase of “nevah happened” when discussing stories and interpretations that she dislikes. That said, she makes many compelling arguments about how inconsistent storytelling has hurt the character and how it’s diminishing to Wonder Woman to depict her enemies as motivated by simple misogyny. (“Ugh. Nope, nope, nope. No misogyny in the Wondie mythos, please.”)
Strickland's passion is clear, and she works hard to persuade readers of the righteousness of her take on the character. In the end, this is a celebration of Wonder Woman's history, but it's also a condemnation of how recent comics as well as movies and television have let the character down. For Strickland, a Wonder Woman who doesn't work hard for her power and fails to present herself as a role model is joyless--and simply cannot be the world's greatest superhero.
Takeaway: Wonder Woman fans will enjoy this highly opinionated take on what makes the Amazon the world’s greatest superhero.
Great for fans of: Jill Lepore's The Secret History Of Wonder Woman, Tim Hanley's Wonder Woman Unbound.
Production grades
Cover: A
Design and typography: B
Illustrations: A
Editing: C-
Marketing copy: B
Triana’s tale hovers on the border between dark fantasy and outright horror, drawing upon the creepiness of Florida’s forgotten corners to infuse the setting with a sense of loss, decay, and impending doom. Vale’s struggle to reconcile her wavering faith with a newfound affinity for Tarot and spiritualism makes for a compelling personal arc, especially when it brings her into conflict with family and friends. Triana is careful to balance both sides of these disagreements, encouraging personal exploration while condemning hypocrisy and closed-mindedness. She strongly emphasizes found family, as Vale slowly learns to trust her new friends–a refreshingly diverse group which includes Haitian-American Wilky, non-binary Mori, and lesbian Fae.
Triana skillfully ramps up the tension as her characters explore the sordid history of Sunlake Springs and how it relates to their personal lives. Even Vale discovers a surprising connection, and in a chilling subplot, Wilky confronts a lingering legacy of racism when he uncovers his great-uncle’s fate. The subtle influence of the supernatural on the story becomes more blatant near the end, but the end result is a powerful tale of personal discovery and dark secrets that will appeal to readers looking for an unsettling escape into the unknown.
Takeaway: This dark fantasy blends Florida atmosphere and witchy suspense.
Great for fans of: Hannah Abigail Clarke’s The Scapegracers, Amy Rose Capetta’s The Lost Coast, Shea Ernshaw’s Winterwood.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
