On the hunt, Elliot discovers Ember’s spitting image in a Terran orphan, Aurora, who is astonished to discover that, like Ember herself, she can connect to his mind through the “empathic link” shared by Aetherian Royalty. From there, Ideue keeps the story hurtling along as Elliot, Ember, and crew (including the scene-stealing AI Zorac) strive to discover the emperor’s secrets, take revenge, and build an enduring foundation for humanity’s future. Despite the novel’s scope and hefty length, the pages turn quickly, the storytelling powered by something as potent as any antimatter drive: Ideue’s passion for space adventure in a classic vein, for stout heroes, ragtag crews, and bold missions; for epic space battles described with an attention to tactics; for stakes that are both civilizational and deeply personal.
Ideue never ignores advanced tech or scientific ideas, but they also never get in the way of fun or momentum. Elliot’s love of Bablyon 5 and Galaxy Quest is cute, a cue not to take this too seriously—for Elliot, isn’t that like being obsessive about Middle English lit today? The rousing ending, coming some 400 pages after Earth’s destruction, finds what’s left of humanity facing a much wider universe, sure to be explored in later books of the promising “New Terran” series.
Takeaway: Fun, action-packed space opera of an Earth captain facing an empire.
Comparable Titles: John Birmingham’s The Cruel Stars series, Gareth L. Powell’s Continuance series.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
From there, The Story of Emiliah Bent morphs into a dark tale of control and danger, as Emiliah refuses to confront her haunting past or challenge the seeming ease of her new lifestyle. The casual first-person narrative pulls readers in with a steady build-up of tension, punctuated by moments of stark intensity as Emiliah’s shifting perception of her relationship moves from dreamlike wonder to desperate urgency. Dickson weaves a treacherous line between romance and thriller, allowing Emiliah and Ben’s relationship to darken with each chapter.
The novel echoes themes of oppression, but with a brutal edge that will push readers to the brink, as Emiliah breaks free from her socially awkward, low-self-esteem prison into a different type of bondage, where tender lovemaking swiftly morphs into something terrifying and Ben progressively becomes more violent and unpredictable. The blend of romance with psychological suspense cuts deep, opening a world of shadows behind a seemingly perfect love story, and Dickson's portrayal of the dangers that can lurk just beneath love’s surface—combined with a killer surprise ending—is sure to resonate with fans of darker romantic thrillers.
Takeaway: Passion, violence, and the past erupt in this dark romance.
Comparable Titles: Nicole Blanchard’s Toxic Romance, Sheridan Anne’s Pretty Monster.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: B-
Marketing copy: A
Brooksbank (author of All My Love) takes readers on a smooth ride with a down-to-earth, relatable main character. Like many retirees embarking on a new stage, Meg isn’t quite sure what she wants, though she instinctively feels a change is in order. Readers will be endeared as she tries to defy generational expectations and vows “not stir up the air or the water, not do anything foolish like falling in love,” just as she falls head over heels for her old fling. That affair comes with some serious risks, thanks to shocking secrets from Colin’s past, and Brooksbank teases those secrets to add moments of action and surprise to the novel.
Besides the main affair, Brooksbank adds compelling relationships between Meg and other characters, including her neighbors Linh and Suzanne, and Nick—a bohemian pain-in-the-rear whose honest and unapologetic nature, in combination with his genuine care for his mother, makes him entertaining and strangely appealing. His character arc suffers from a lack of development at times, but Brooksbank makes up for that by giving him a crucial role in the story’s surprise ending—one that allows mother and son some reconnection and hope for their future. This soft love story has considerable backbone.
Takeaway: Cozy women’s fiction with high-stakes thrills sprinkled throughout.
Comparable Titles: Lisa Williams Kline’s Ladies’ Day, Nancy Crochiere’s Graceland.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A
Sarda commands readers’ attention with energized prose, snapping the world and its characters into unflinching focus and presenting a gnarly, atmospheric mosaic of a Hamburg where everybody, as Edda reflects, “knew the difference between an insider and an outsider. And nobody liked the cops.” There’s a lived-in sense to everything (and everyone), where even the idlest of background figures feel less like set dressing and more like essential denizens in their own right. It’s an impressive weaving of vitality and messy humanity.
As a Californian living and working in Hamburg, Sarda leverages his perspective in crafting a striking vision of a “rugged harbor town… with a robust and colorful criminal underworld.” From the WWII-era bunker Edda calls home to the Blankenese foothills overlooking the container islands in the harbor, there is a palpable vein of history pumping beneath the concrete skin of Sarda’s Hamburg to match the beating hearts of his cast. Shuddering with vibrant immersion, Edda Green practically muscles its lesser parts into working order, culminating in the kind of engaging, street-level crime fiction noir fans crave.
Takeaway: A vibrant, muscular neo-noir, alive with magnetic characters and a vivid Hamburg.
Comparable Titles: Andrew Warren’s Cold Kill, Nic Saint’s A Field of Blood.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: B
This entry is a swift, exciting, of-the-moment read that plunges readers into the tangled web of machine learning, augmented and artificial intelligence, and thoughtful exploration of the ethics of all of this. One strong twist finds Charlotte suddenly wondering if actually it’s AI C.J. who needs protection—from humans. Charlotte remains a winning hero, somewhat at odds with her peer group but caring about what matters most, and her friendships bring heart to the material. (A date that suffers from technical difficulties is a highlight.) For all Marie’s persuasive expertise in presenting this world, non-techie readers will not feel overwhelmed by the cool science elements as Charlotte discovers the lies and truths of Cognation.
In fact, Marie smartly uses the school setting to offer pointed, age-appropriate conversations exploring the issues of privacy, hackability, and more. The introduction of soulmates powers welcome exploration of invasive science, with the questions raised being answered, in words and inventive action, by a young generation that has only ever lived with such technologies. Lovers of searching but down-to-Earth science fiction will appreciate this sequel’s accessible and relatable consideration of the urgency of setting boundaries with technology.
Takeaway: Smart YA sequel of an innovative academy, invasive tech, and a bold student hero.
Comparable Titles: Rebecca Hanover’s The Similars, Suzanne Young’s Girls with Sharp Sticks series.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
In “Inner Peace,” the poem’s speaker observes the sun setting and the slow advance of night, and as they experience a flood of tranquility at the sight, the speaker declares, “I decided that the way I perceive the universe // is influenced more by my inner state // than by the lights in the sky.” Hansen explores the notion that internal equilibrium is essential for the self in order to experience a connection with the universe, and a method to engender that personal serenity is to use poetry as a way to express the phenomenon of living. Elsewhere, Hansen makes the connection even more explicit: “Absorbing nature every day // is transforming me,” he notes, a truth that will resonate with anyone who also has prioritized such an observant immersion.
Hansen’s poems also act as vehicles for the existential questioning that results from serious contemplation of the cosmos: “But I may wait a lifetime // and still not get the explanation. // So I put the question on hold // and return to stargazing.” Though somewhat misaligned thematically, the final section, “Love Poems for Kristen,” is nonetheless touching and sincere; romantic love, like the cosmos, is another source of inspiration and spiritual exploration in Hansen’s starry-eyed verse.
Takeaway: Marveling, moonlit collection of poems that illuminate the nightscape of the mind.
Comparable Titles: Sara Teasdale’s “Winter Stars,” Nisha Patel’s “The Blue Bird”
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: B+
While much of Hansen’s verses focus on the splendor of “the beauty of the setting sun and the spectacular panorama,” or else “the warmth of the summer sun and the light, salty breeze,”, some poems stray from the space of gratitude and presence into a darker, at times mysterious perspective. “A constant eye is upon me,” he writes in “The Eye,” and though that entry’s narrator wishes to escape that relentless gaze, he cannot; the eye then takes “away his freedoms.” For a poem of so few words, Hansen packs layers of meaning that delve into the political, sociological, and psychological—and such dark moments have the effect of brightening the light ones.
Towards the end of the collection, he includes a section titled “Love Poems for Kristen,” that is composed of brief, romantic verses that also incorporate the poet’s reverence for the natural world. “When we met,” Hansen writes in “Miracles,” “the universe grew // to make room for our love,” yet the despair he writes about in “Cycle of Salvation” or “Demons” persists. The only antidote for it, it seems, is the love the speaker shares with his muse: “I want to float in the heavens forever. // But I know you are waiting on Earth, // so I return home”. Or perhaps the act of artistic creation is crucial, too.
Takeaway: Heartfelt verse homage to sunsets, ocean shores, and the gifts of nature
Comparable Titles: Tyler Knott Gregson, Rupi Kaur
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
As Hitchcock reflects on that journey, readers will be swept into the daily ups and downs of a long-term marriage on the rocks, for no glaring reasons other than a gradual growing apart. Both she and Joe feel the tug of an almost-comfortable sense of isolation weighed against the pain that comes with opening up and admitting “I just want to be loved,” and, as they move towards separation, Hitchcock also confronts her tumultuous childhood—fraught with emotionally absent parents and episodes of sexual assault—and its impact on her ability to bond with other people.
The end of Hitchcock’s marriage triggers a new beginning, and she leans on her Buddhist beliefs to find peace—and a way forward when everything falls apart. That path includes her transformation from student to teacher, as she leads meditation classes inside a federal prison nearby her new home, and, eventually, a solitary life on the ranch that creates inroads for her healing. After much self-work, Hitchcock reflects on her redemption in liberating tones, writing that “I always had a nagging feeling that there was something else, something more, some kind of freedom from my unhappiness,” before proclaiming “we can connect with a goodness inside ourselves and find happiness there.”
Takeaway: Memoir of finding happiness within when life falls apart.
Comparable Titles: Jaymen Chang’s I Love This Version of Myself That You Brought Out, Nora McInerny’s No Happy Endings.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: B+
More than a tale, this series of discoveries and colloquies is a warm provocation, a meditation that addresses timeless questions about life, divinity, and how humanity “cannot improve without a sublime ideal.” In contemplative dialogue and crisp yet poetic prose that moves quickly despite the headiness of the concepts, Maggi links Atlantis to the mysteries of the Sphinx and the Milky Way, offering a searching, spiritual adventure—a quest for answers to ease modern complexities of existence. Thrumming beneath the journey is the question “Why are we here?”
Maggi and Gaius suggest that humans tend to continuously fall into temptation, blocking us to see the true path of knowledge and damning us of the true purpose of life—the enlightenment of the soul. Maggi conjures an ambiance of hushed revelation, plus some precise architectural descriptions, into a thought-compelling exploration of what it really means to be human beyond the corruptions of greed and depravity. Seekers who relish searching, cosmic, life-affirming fiction rooted in ancient cultures will appreciate this reminder of the power of connecting to the divine.
Takeaway: Cosmic novel following seekers through ancient civilizations to find the divine.
Comparable Titles: J. Douglas Kenyon’s Ghosts of Atlantis; Stephen Shaw.
Production grades
Cover: A-
Design and typography: A
Illustrations: B
Editing: A
Marketing copy: A-
The Spear and the Sentinel
A standout feature of Hancock’s work is his multidimensional characters, especially Voodoo—a tech-savvy operative whose resourcefulness and loyalty are pushed to the brink throughout the mission. Voodoo’s interactions, particularly his strained dynamic with Mason, add layers of tension and depth. Hancock also delves into the psychological toll of warfare, exploring Mason’s heart-wrenching backstory and eventual sacrifice, while weaving current geo-political concerns in the larger narrative, which helps ground the action. Hancock’s attention to local color, like a purported five-star hotel in Kazakhstan, also keeps it all feeling real, as does his characters’ tendency to think through the possibilities of how a scenario may unfold. The climactic battle at the Yining Vocational Training Center stands out, showcasing Hancock’s talent for blending intense combat with tactical precision.
While the novel occasionally slows with dense technical explanations that may challenge readers unfamiliar with military terminology, its emotional underpinnings—especially Voodoo’s experiences of betrayal and grief—keep the narrative compelling. The Spear and the Sentinel is a welcome addition to the military thriller genre. Hancock’s deft ability to weave intricate plots with a deep emotional core makes this book memorable, offering thought-provoking explorations of loyalty, sacrifice, and the ethical questions raised by advanced technology long after the last page is turned.
Takeaway: Superior tech thriller with cutting edge AI tech and real feelings.
Comparable Titles: Jack Carr’s The Devil’s Hand, Elliot Ackerman and Admiral James Stavridis’s 2034.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
The result is an act of love and artistry, a grandfather’s vision made concrete and permanent, and Aryani's spirited collaboration as model. Miller’s goal in this intimate project is to illuminate that duality of identity and experience through photography, and particularly photography of dance. That duality refers to his subject’s richly mixed heritage: “With a father reared in the western tradition and a mother from the Hindu culture, Aryani has a foot in both worlds.” The collected images reflect this. Miller showcases Aryani on stage, from ages six to twelve, in vibrant traditional costume as she dances in the classical Bharatanatyam style, and readers get to watch her grow as a young girl and as a dancer, into a teen with impressive physical command and a forceful presence and bearing, both in posed performances and in more candid shots.
Miller believes colorless compositions “best express and distill the essence of the subject through tone, form, and texture,”yet he recognizes that color is a central feature to Hindu culture and art, so his compromise is to include a mix of color and black-and-white photographs. While many of the posed photos are striking, particularly “Aryani in Sleepy Mama’s dress at age 7,” and “Wood nymph,” this collection is likely best enjoyed by family members rather than most chance readers. Miller measures up to his mission, doing “justice to the richness of her spirit.”
Takeaway: Padma Venkatraman’s A Time to Dance, and Ken Browar and Deborah Ory’s The Art of Movement
Comparable Titles: Warm, striking photos of a young girl dancing in the classical Bharatanatyam Indian style
Production grades
Cover: A
Design and typography: A-
Illustrations: A
Editing: A
Marketing copy: A-
At its core, A Memory of Fire is an exploration of the ripple effects of trauma, a tribute to facing the past as the only way forward. When Carla finds herself trapped in the cartel’s clutches again, tasked with recovering millions her husband stole from Diego and Ramon, her life, and her daughter’s, hang in the balance. In attempting to locate the stolen money, she journeys back to her past, forced to reckon with not only her DEA days and the truth of her marriage, but also a troubled childhood marked by her abusive father. That journey is painful, but it allows Carla to reclaim her agency while revealing how reconnection can serve as a powerful source of healing. Woven throughout is a mystery of many moving parts, turning what begins as a search for money into an exposé with layers of deception, shifting alliances, and double agents galore.
Balfour (author of The Harem Conspiracy series) builds the plot with keen detail and insider knowledge, drawing from his own experience working closely with federal agencies to imbue the story with unique authenticity. This is an unforgettable opening to a promising series that thriller fans will savor.
Takeaway: High-stakes mystery combines with a quest to face the past head on.
Comparable Titles: Lisa Gardner; Nic Pizzolatto’s Galveston.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Other entries involve spies, experimental rockets, and flight as a means of communication over distances. In Africa, Isoke, protagonist of “The Price of Flight,” takes rousing and surprising inspiration from her bond with a wounded falcon, while “Kites, Or Red Blue Blue” centers on a bridge collapse in 19th Century China: the mysterious Le Lang presses the spoiled young monarchs, Zang Tu and his sister Sizhen, to improve their bridges despite their initial stubborn refusal, nudging the siblings toward a new maturity, all as glorious silk kites send messages.
Vivid descriptions are highlights throughout the nine stories, though character and pacing are often sacrificed for thorough descriptions of aircraft construction, history, and function, plus the harvesting of natural rubber and the engineering genius it takes to make planes faster, lighter, and more acrobatic. Still, the heroines’ bravery and perseverance shines through as they seek to improve lives, save the day, and conquer the skies. Readers will be intrigued by the photos and illustrations of aircraft and the women who flew them.
Takeaway: Rousing, imaginative stories of young women heroes making aviation history.
Comparable Titles: Keith O'Brien’s Fly Girls, Ann McCallum Staats’s High Flyers.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Senyard’s dialogue is vivid and funny, his wisecracking “Storyteller’s Note”s smash the fourth wall with on-point quips, while his descriptions of the fantastical (trolls, dwarves, a gorgon whose “bulbous eyes glint with malice from a skull adorned with constantly writhing snakes”) burst with exciting energy. Some info dumps are distracting—one storyteller’s note acknowledges this, carping “Whew, that’s a mouthful!”—and at times the asides prove cutesy, undercutting the narrative stakes.
Still, there’s much cleverness and pointed parody of our online lives as Jeremy, Hui, Anelé, and a reformed pirate captain put their formidable abilities and cleverness to heroic use and act in concert, a good trick since they are often apart. Senyard makes the heros’ growing understanding of the dangers of constant online connection and performance a key story element—the novel makes a compelling case through its tale. It’s an intriguing journey, with laughs, food for thought, and a spirit of adventure.
Takeaway: Fast, funny fantasy of trolls, dwarves, a missing king, and social media.
Comparable Titles: Laurie Woodward’s Forest Secrets, Barbara Ferrier’s Forbidden Magic.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Guided by religion and traditions, and respecting his father while longing for his mother’s love, Sohrab is a tribute to cultural legacy, an everyday hero who breathes virtue and sincerity, even as his world is consumed by the international powers vying for control of Iran’s natural resources. That dichotomy echoes in Haddad’s portrait of an Iran straining against its past as it reaches for the future, coming to terms with its worldly transformation while balancing ancient beliefs and customs. Sohrab’s journey encompasses not just Iran’s occupation but also the persecution of Jews, the devastation of a military invasion on his doorstep, and the beauty of found family—his brother, Arash, along with his German wife, Krista—that bathes the story in cross-cultural harmony and innocence during a time when the streets whispered suspicion at every turn.
The book’s title—pulled from an editorial cartoon depicting two beasts toying with a weaker one—serves as a chilling metaphor for the manipulation and control plaguing Sohrab’s country. As that reality unfolds, and Sohrab grasps the loss of his innocence, Haddad captures his confusion with precision, reshaping Sohrab’s simple journey into a harrowing adventure of loss, love, and bravery.
Takeaway: Thoughtful portrayal of Iran during its World War II occupation.
Comparable Titles: Anthony Doerr’s All the Light We Cannot See by Anthony Doerr, Parinoush Saniee’s The Book of Fate.
Production grades
Cover: B+
Design and typography: B+
Illustrations: N/A
Editing: A-
Marketing copy: A-
Wilson smartly uses that catastrophe as the spark that fueled Kate’s path to "improve the lives of women through education,” drawing from unpublished letters, historical photographs, and painstaking personal research to sketch a layered story of love, grief, and healing. The result is a tender account of an individual often eclipsed by her younger sister’s fame, a fierce champion for women born out of the mistreatment she suffered by the men in her life: "Kate’s heart was broken. She was tormented by men who tried to analyze her rather than empathize with her. She was hounded by devils, and her faith failed her. She was forlorn, with nowhere to turn," Wilson writes.
The balm for her grief takes shape in Kate’s formation of schools for women, including the Hartford Female Seminary and Western Female Institute, as well as her foray into home economics, with a best-selling book, Treatise on Domestic Economy, penned in 1841. At a time when women were largely credited for their domestic roles only, Kate features here as a “powerful stick of dynamite” for women’s progress, an ardent believer that women could “change America for the better.” History fans will be captivated.
Takeaway: Riveting sketch of Catharine Beecher’s championship of women’s education.
Comparable Titles: Kathryn Kish Sklar's Catharine Beecher, Dorothy Wickenden’s The Agitators.
Production grades
Cover: A
Design and typography: A-
Illustrations: A
Editing: A
Marketing copy: A
