Moonrise
Moonrise stands out from the pack of contemporary werewolf fiction thanks to Claiborne’s refusal to romanticize the transformation of human to wolf-beast or find beauty in brutality. Anthony’s initial transformation is raw and unforgiving, and he faces wrenching physical therapy afterward. As his bones clench and grind—a process described with vicious zest—Anthony craves blood and prey, and his body, while enhanced, is more beast than sexy. Claiborne also never shies away from the consequences of lycanthropy, as Anthony is often overwhelmed with guilt about his bloody deeds and is almost immediately caught for his recklessness.
All that means readers will both empathize with Anthony and fear him, especially as his relationships with family and his girlfriend wilt—Anthony is scared, justifiably, that he might hurt her. Complicating Anthony’s struggles are the rules, factions, and bloodlines of werewolves, which are contrasted wittily with the corporate world and Anthony’s position (possibly a board member!) at MGE, the company he works for. Dialogue is sharp and occasionally satiric, but Claiborne never undercuts the horror and suspense. Sometimes, as Anthony tries to make sense of his new life of Pure Bloods, Half-Breeds, and Ultimas, some transitions will leave readers with questions of logistics, but lovers of urban fantasy with bite will find much here to relish.
Takeaway: Action-packed werewolf thriller with dark emotions and vivid detail.
Comparable Titles: Charlie Huston’s Joe Pitt series, Glen Duncan’s Last Werewolf Trilogy.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Perhaps worse, glimpses of Roni’s powers tempt an ogre named Bomo to strive to capture her. Soon, the “lust for gold” leads to conflict, as things asked of an Imen and not freely given come at a cost: one’s own need for more. The authors adopt a tone that draws deeply from early fantasy and fairy tales while honoring contemporary fantasy’s coherent worldbuilding. The tale opens with a clear, engaging survey of Atlantis and the waters that surround it, while the Imen people’s history, including their atonement for a greedy warrior past, establishes simple yet resonant themes.
Acts of kindness from Roni lead to unexpected consequences, such as her healing a blind man down on his luck and bestowing upon him a magical gold coin, a choice that sparks incidents of human (and ogreish) covetousness. Those moments have a familiar satirical edge, but scenes of Roni and Eyvind, who requests a way to regain his family's status, pulse with a more compelling temptation, as she fights the urge to gaze into his soul and memories. A cliffhanger ending feels somewhat abrupt, but the prose and world will delight lovers of classic fantasy.
Takeaway: Classical, morally charged fantasy of greed, healing, and magic.
Comparable Titles: Jeanette Ng, Emily Lloyd-Jones.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
Origins Progeny
Fedorak ratchets up the tension with an in-depth dive into Genodyne’s experiments on new life forms, the kronosapiens, harvesting their stem cells to create a cure for Revive patients. Their heinous experiments gain the attention of violent protesters who demand that the cure be available to all for free. As Linette’s health worsens, Alina asks Chance to enroll her mother in a clinical trial. He agrees on the condition that it remains a secret. While he offers Alina and Mandin safe passage through Genodyne, she doesn’t realize just how far Chance is willing to go to rekindle their romance and remove Kiean from her life.
Merging lively action and intrepid, engaging characters, Fedorak deftly teases and reveals political, social, and medical conspiracies that have far-reaching consequences for the entire planet. With some twists and turns, she creates an authentic world of near-future science and thought-provoking issues related to designer babies, corporate accountability, and familial commitment. A provocative page-turner.
Takeaway: Stellar SF novel of unethical medical experiments on a distant planet.
Comparable Titles: Sue Burke’s Semiosis, Madeline Ashby’s Company Town.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
Clark’s prose is elegant, serene, boasting a reporter’s eye and a storyteller’s élan, never drawing attention to itself but always serving the needs of the story: “It made her glow,” he writes, from the perspective of the husband in Paris: “The midnight dinners in tiny bistros, the warm croissants in the morning, oysters at midday, the long, long walks, making love in the afternoon …” Most of the characters and situations are entirely believable and relatable, and many remain in the reader’s mind, such as that husband, who faces the end alone in the most mundane of ways, or a father who comforts his son after he has a panic attack.
Clark makes small, everyday moments poetic. The parents of a teen couple in “Pizza Thanksgiving,” watching anxiously as their son skates with his love/crush, are sketched with an empathetic eye and loving attention to the textures of everyday life, especially their anxiety at her rejection of him. The understated way in which the influence of wealth and class shapes politics and, through it, the lives of ordinary people is a key theme, explored with power in “The Reunion.” This deserves special mention. An interesting collection, drawn from life, alive with insight and grace.
Takeaway: Engaging stories revealing contemporary urban life with insight and humanity.
Comparable Titles: Thomas Morris’s Open Up, Yiyun Li’s Wednesday’s Child.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
From the start, Monti’s fiction debut evokes a typical New Jersey-esque mobster atmosphere, with Gino’s right hand man, Vinnie, an “angry street thug who belted people around for kicks” on constant guard duty while Gino runs a side business at a club where “for two C-notes, the tie and suit guys get three drinks… and the chance to hound the best dancers this side of Las Vegas.” The humor-tinged perspective on neighborhood violence and politics, combined with snappy street slang and a handful of vicious hits, will keep readers entertained, topped off only by Monti’s slew of peculiar characters, from Gino’s mother Mrs. Lofaccio to golf course CEO/arms dealer Pincus Bogalinsky—each of whom harbor their own curious quirks. Golf also forms a central part of the narrative, with large sections of the plot dedicated to the ins and outs of the game.
Monti’s fast-paced twists and turns culminate in a speedy climax, that, when it comes, echoes the book’s earlier themes, with sting operations aimed at Syrian-backed illegal arms dealings and a takedown requiring a multiple organization cooperative. That tidy finish allows Monti to nicely sum up each character’s journey and leaves Rocky safe and sound—though his golf game is irrevocably affected. An adrenaline-inducing read, Shooting Bogies is filled with action, idiosyncratic characters, and snappy intrigue that will leave mafia fiction fans murderously entertained.
Takeaway: Mafia mix-up leaves a golf hustler repaying an unlikely debt.
Comparable Titles: Ed McBain’s Criminal Conversations, Jon A. Jackson’s La Donna Detroit.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A
Quinn writes with an obvious passion for educating others, sharing candid first-person testimony that is honest, sincere, and, even during his most painful moments, upfront about the challenges he has faced and overcome. That passion will inspire readers, and Quinn notes it has opened significant doors of opportunity for him, including serving as a vice president for the AFASIC organization, established to spread awareness and provide support for youth diagnosed with DLD. His overriding message is hopefully earnest: the impact of DLD is far-reaching, but, with support and effective care, it can be managed. “I have been knocked down,” he writes, “[but] I got back up and soldiered on through life, ever molding myself to be what I am today.”
Quinn’s personal and professional victories will encourage others to rise to the challenge, as he channels his frustration at the lack of awareness about DLD into a victory rally. “This disability is a part of me, but doesn’t define who I am,” he emphasizes. The narrative flow is disrupted at times by loosely related deviations, but, when delving into his more intimate moments of pain and triumph, Quinn’s writing is powerful. His inclusion of photographs builds connection with readers, and he closes with simple ways to shed light on DLD research and programs.
Takeaway: Empowering personal story of coping with development language disorder.
Comparable Titles: Sheila Hale’s The Man Who Lost His Language, Marc Shell’s Stutter.
Production grades
Cover: C
Design and typography: A
Illustrations: A
Editing: B
Marketing copy: B
In Daylight
Flarity (author of The Ghost Hunter’s Daughter) artfully infuses the Pine Barrens setting with a moody, atmospheric darkness, mirroring the Crane family’s inner turmoil. Though the Cranes share a strong bond and long to have Naomi back, each member of Mika’s family struggles with unresolved pain: her father is tormented by paranoid delusions, her mother’s violent outburst led to a prison sentence, and her other sister Paige’s seemingly happy marriage camouflages her toxic jealousy. When Mika reunites with Naomi, she discovers that it is not family dysfunction that drove her away, but rather Naomi’s desire to protect them from the aliens that had abducted and tormented her.
Though Mika initially rejects her sister’s wild claims, the addictive twists and turns of the plot force her to consider if there have been otherworldly forces at work in her and her family’s lives. When disaster strikes, she must decide if she is willing to open her mind to new possibilities—and new realities. Though Flarity’s esoteric approach to the alien genre may challenge some readers, the relatable characters and their visceral relationships keep the story grounded. Far from a generic tale of little green men, this story’s intelligent exploration of identity, family bonds, and generational trauma infuses empathy into the extraterrestrial.
Takeaway: Haunting speculative sci-fi with psychological depth.
Comparable Titles: Blake Crouch’s Dark Matter, Mary Doria Russell’s The Sparrow.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
Blasing's writing style is clear, practical, and engaging, blending personal anecdotes and real-world examples with actionable advice to make complex concepts both accessible and motivational. Every conceivable aspect of career success is covered here, including psychological facets—overcoming imposter syndrome can lead to greater resilience and productivity, he argues, just as managing workplace emotions will drive positive on-the-job outcomes—and those always-important interpersonal skills, like “deep listening,” using questions in a way that builds trust and connection, and mastering charisma to “make others feel valued and special.”
Blasing's insights on leadership are particularly valuable, as he distinguishes between managing and leading while offering strategies on adjusting leadership approaches to meet the needs of both individuals and the organization as a whole. An encouraging, optimistic work culture is key, he writes, and he addresses the challenges that can arise when teams are composed of multiple generations, reminding readers that “the significant differences we all have are positives and something worthy of understanding, valuing, and accepting.” Blasing’s upbeat tone and sweeping scope make this a well-rounded, insightful guide that will provide readers with the tools and knowledge needed to navigate the complexities of long-term career success.
Takeaway: Thoughtful, informative guide that covers an array of career success factors.
Comparable Titles: Ryan Leak’s Leveling Up, Robert Reffkin’s No One Succeeds Alone.
Production grades
Cover: A-
Design and typography: B+
Illustrations: N/A
Editing: A-
Marketing copy: A-
James’s densely inventive novel follows Elroy, the Tehuelches, and hardboiled mercenaries as they target EU supply lines and hubs in preparation for taking Alpha Station. The novel balances attention to science, tactics, and the gritty texture of space warfare with deep worldbuilding, linguistic playfulness (“posdef”; “justcuz”), and philosophical and historical inquiry. Even seasoned readers of thoughtful SF will find this a demanding read, as the story starts in the middle of this “not-war” and challenges readers to keep up. James’s inventions (like the Lungeshark species) and historical parallels are fascinating, as are the political machinations, but the prose can feel dense and uninviting at times. The pacing occasionally frustrates: for instance, a thorough, pages-long account of New Patagonia’s history comes after readers have already inferred much of it, interrupting the flow as Elroy races into the book’s first battle.
The action intensifies in the second half, especially in corridor-crawling chapters from the perspective of Lamb Cloudstalker, a mercenary who is proud of ancestral memories of fighting Nazis at Normandy. James’s characterization is compelling, particularly in a pair of EU captives turned slaves, while the Tehuelche society—where slaves have rights and odors reveal emotions—adds rich layers to the narrative. Equally intriguing is Elroy’s adherence to a cosmic shamanism rooted in science, which underscores the novel’s ambitious blending of action, philosophy, and speculative worldbuilding.
Takeaway: Bold but dense and challenging SF epic of humanity at war in the stars.
Comparable Titles: Alastair Reynolds, Yoon Ha Lee.
Production grades
Cover: C
Design and typography: A-
Illustrations: N/A
Editing: B-
Marketing copy: B
“I try not to dwell on the darkness in life,” Hansen writes in “Glorious Gifts,” “but bask in the splendor of home.” The meaning of “home” here is expansive: home is Earth, the universe, the soil, a house, California’s coast, and the snowy memories of childhood. The recognition and appreciation of each, the poems suggest, enrich everyday living in ways that nothing material could. Through simple, direct, deeply personal accounts of moments of transcendence, the poems in Words to Breathe By blend literary craft with meditative practice: “river of peace within, help me find my way.”
Each of Hansen’s collections changes course in the final section. Here, he shifts from contemplative reveries on the cosmos to love poems for his muse, Kristen. These entries often lack resonant specific detail, favoring reverent exclamations such as: “In your soul’s light, I stop wasting time making war and look for peace, helped by your endless reserve.” However, some lines achieve a substantive delicacy, as in “More Than Enough”: “you are a diamond, but soft.” Readers seeking mantra-like and meditative poems will find a calming set in Hansen’s collection.
Takeaway: Accessible, meditative poems addressing gratitude, the cosmos, and love.
Comparable Titles: Tyler Knott Gregson, Rupi Kaur
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
The narrative intricately weaves together elements of legend, history, and imagination, creating a rich tapestry that brings Valentine’s story to life. Collins's background in film is evident in his writing, as the novel unfolds with a cinematic quality that immerses readers in the ancient world of Rome. Detailed descriptions of the setting—from bustling Roman streets to the serene countryside—provide a vivid backdrop for the unfolding drama. Collins’s characters are well-developed, with Valentine and Agatha's love story forming the heart of the novel. Their relationship is portrayed with depth and sensitivity, making their struggles and triumphs both poignant and convincing. Valentine’s arc is compelling—a man who evolves from a battle-hardened soldier to a compassionate healer and devout Christian—while Agatha is equally well-realized, embodying courage and grace despite her vulnerabilities.
One of the novel’s strengths is its historical accuracy; Collins has clearly done extensive research, and he includes real historical figures and events that add authenticity to the story. The narrative enhances the historical foundation with creative liberties that never detract from its integrity. The portrayal of early Christian communities and their struggles under Roman rule is both informative and moving, providing a heightened understanding of the historical context in which Valentine lived. Collins’s piercing exploration of faith, sacrifice, and redemption gives this epic love story an intricate depth often missing in similar titles.
Takeaway: Well-crafted, engaging fictional rendering of Saint Valentine’s life.
Comparable Titles: Jamie Ogle’s Of Love and Treason, Emma Hooper’s We Should Not Be Afraid of the Sky.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
The Silver Squad: Rebels With Wrinkles
While Essen’s comedy sparkles in scenes of break-ins, Spam theft, high-speed chases, line dancing, and debates about what to name the duo’s organization, The Silver Squad also succeeds as drama and character study. With late addition Jenny, first encountered in Iowa on the run from her abusive husband, Barry and Beth find themselves in many delicate, albeit humorous, situations that touch on American crises, from school shootings to the epidemic of homelessness. Some scenes are edged with real tension, and readers will find themselves holding their breath as the pages cannot turn fast enough. When Jenny tries breaking into her husband’s house, the writing is as sharply honed for suspense as any thriller.
Essen enters edge-of-the-seat territory, though the prevailing tone is one of do-gooding coziness. Essen’s heroes offer welcome relief from the usual vigilante tropes of injustice being fought with violence, capes, or guns. In these golden-years capers, Essen finds a fresh sweet spot between adult thriller fun, a spirited sense of moral outrage, and endless wisecracks and insights about old age.
Takeaway: Sparkling road-trip comedy of retiree crimefighters taking the U.S. by storm.
Comparable Titles: Robert Thorogood’s The Marlow Murder Club, Catharina Ingelman-Sundberg’s The Little Old Lady Who Broke All the Rules.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Thus begins the decline of Mr. Bear’s one-on-one time with Taylor—a childhood rite of passage that is heartbreaking to witness, though Trott handles it with gentle love and care. As Taylor slowly drifts apart from Mr. Bear, he remains staunchly loyal, waiting for her return every day and dreaming of the fun things they might do together. Still, the transformation in their relationship is poignant, as Mr. Bear sits in Taylor’s bedroom on a chair, watching her “come and go” while he’s left behind, feeling “sweet and understanding but a little sad”—emotions younger readers will likely find relatable.
Trott brings this charming story full circle once Taylor has children of her own, offering readers an ending that’s as warm and fuzzy as Mr. Bear himself—though he’s now “fragile and a bit old and tired… [and] special care is required.” The understated illustrations allow Trott’s heartfelt narrative to take center stage, but they still capture Mr. Bear’s delightful facial expressions and the endearing bond he shares with Taylor. Kids—and any adult who fondly remembers the well-loved toys from their youth—will find this debut a touching ode to childhood innocence.
Takeaway: A young girl’s bond with her stuffed animal is tested as she grows up.
Comparable Titles: Loren Long’s Otis, Anna M.’s Stuffed Animals Are for Everyone.
Production grades
Cover: B
Design and typography: B+
Illustrations: B-
Editing: B+
Marketing copy: A-
The range of poets and writers is broad. John McRae's "In Flanders Fields,” one of the more famous poems of the era, is told from the point of view of the war dead, who rousingly urge the living to keep fighting. George M. Cohan's song "Over There" was a rallying cry for the Americans in the war, cheering on the boys saving allies from the "Hun." Familiar selections like Kipling’s “My Boy Jack”—mourning a son who died in the war but rejoicing that he "did not shame his kind" by avoiding combat—are joined by surprises like Ivor Bertie Gurney’s mournful “To His Love” or the hit 1919 tune “How You Gonna Keep 'Em Down on the Farm (After They've Seen Paree)?” One heartening theme is writers praising the soldiers of a different country, such as Ella Wheeler Wilcox's slightly besotted ode to the "bonnie Highland laddies" of Scotland.
Much less celebratory is the work of Siegfried Sassoon, whose poems are a scorching and satirical attack on those who pushed young men into the hell of war. The editors themselves take no part in the philosophical argument for or against war, though Varallo contributes some of his own poems about two soldiers on opposite sides: one kills the other, who is out of ammunition, but is haunted by the act. Varallo asks simply, "Who wins?" That cuts to the essence of the experience: it lingers far beyond the battlefield itself. Biographical information for the poets is often sourced from Wikipedia.
Takeaway: Rousing, mournful, thoughtful anthology of verse by soldiers in the First World War.
Comparable Titles: Lorrie Goldensohn’s American War Poetry, Rupert Brooke et. al’s A First World War Poetry Collection.
Production grades
Cover: A-
Design and typography: A_
Illustrations: N/A
Editing: B
Marketing copy: B
Maxwell tells this literary tale with brisk authority, moving quickly through de Pizan’s ascent and her growth as an artist, thinker, and person. Dramatic incidents abound, as de Pizan, who is soon commissioned to write and read for the queen herself, faces public controversies and a burgeoning sense of her own responsibility as discord roils the nation. “What can I do? I am just one woman!” she asks, when a dear friend and priest urges her to work for peace. Dialogue and characterization compel, though the prose, honed for clarity and ease of reading, tends to avoid a poet’s lyricism.
What most fascinates is de Pizan’s growing awareness of the injustice of women's position in society. The poet shrewdly maneuvers to secure stations for her children’s future while honing her voice and arriving at pressing questions like “Why were so few books written about praiseworthy women?” Maxwell has written one, a lively rendering of a life and mind that inspires.
Takeaway: Briskly told historical novel of France’s brilliant 14th century woman poet.
Comparable Titles: Coirle Mooney, Elizabeth Chadwick.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
Braun’s narrative crackles with tension, delivering a fun and thrilling ride as Jessica orchestrates her counterplay: she will con her conman, who is eager to possess her. Enlisting a diverse and quirky squad—her long-lost brother Bayer, a séance mediator named Rebecca, and the burly circus strongman Boris—she attempts to outmaneuver Felix at his own game. Jessica evolves from a neglected child who grew up seeking love in all the wrong places into an independent and resourceful woman reclaiming her agency against patriarchal dominance. Her character is empowering, defying the stereotypical representation of how "every successful woman is a man telling her what to do," as Felix puts it, by proving herself a cunning architect of her own redemption.
The pacing flags during chapters focused on Felix’s indulgent drunken escapades, but Braun compensates with a layered portrayal of his character—a man with an "unlucky" past whose vulnerabilities are masked by his narcissism—rather than a one-dimensional villain. The novel is rich in fascinating and evocative historical detail, especially concerning the ethical ambiguities of the Gilded Age, like grave robbing in the name of medical progress. With its mix of clever and playful heists, eerie spiritual theatrics, and the seedy taverns and sinister graveyards of the Barbary Coast, readers will surely delight in this book.
Takeaway: Thrilling 1890s San Francisco heist story—and a woman’s journey of redemption.
Comparable Titles: Emma Donoghue’s Frog Music, Karen Joy Fowler’s Sister Noon.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A
