Doyle achieves a rich, multifaceted portrayal of the Hibernaculum through intricate illustrations of its architecture and descriptions from the eyes of Megan and the Ferryman. In the beginning, where Seth laid his insights about synthetic hibernation and its possible positive effects on a dying world, the plot thickens once the enigma of its possible effects on humans is hinted at in Yumi's dream diaries. Doyle guides readers through the complexities of the story and its implications by providing outsider and insider viewpoints, as well as in teasing the inherent tension of what's in store for the Sleepers once they wake up. This approach is provocative, occasionally satirical, and will appeal to fans of thoughtful, literary-minded science fiction, though it demands attentive reading.
Although Doyle's writing is spare on character development and emotional grip, he touches upon the diversity of motivations people surrender to and the wonders and possibilities biomedical facilities could do. The story ends more eerie than it started, giving the whole a decidedly cinematic feel as it plumbs pressing questions about life and its value in the Anthropocene. Doyle has hit on something rare: an original approach to climate fiction.
Takeaway: Inventive, provocative novel probing what humanity owes the Earth.
Comparable Titles: Mur Lafferty’s Six Wakes, OMar El Akkad’s What Strange Paradise.
Production grades
Cover: B+
Design and typography: A
Illustrations: B
Editing: A
Marketing copy: A
Tzia: The Book of Galatéa
Galatéa, a witch and one of four quadruplets, embarks on a journey to find the legendary lion, pitting her against her jealous sister, Agatha, and an ensemble of malevolent witches (known as “The Vicious”) determined to stop her. While Theo's narrative occasionally feels sidelined in favor of Galatéa's, the dual perspectives converge spectacularly, keeping readers invested in the plot. The story falters slightly during Galatéa's extensive quest, which moves rather slowly. However, the rich world-building, immersive storytelling, and imaginative illustrations more than make up for this minor flaw, and readers will likely forgive the occasional drag in the plot because of the captivating nature of the story.
At its heart, Tzia: The Book of Galatéa is a story of family, destiny, and magic. Its unique storytelling format and host of engaging and surprising characters will appeal to readers who enjoy fantasy novels with a lot of spirited invention, a love of language and mischief, and a touch of family drama. The intricate, dream-like plot offers a captivating reading experience that will leave readers eager for Theo's next adventure.
Takeaway: This riveting fantasy is perfect for fans of fairy tales and mystical adventures.
Comparable Titles: Catherynne M. Valente’s The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making, Sylvia Mercedes’s Of Wolves and Wardens.
Production grades
Cover: B+
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A-
Perhaps the most intriguing character arc covers his youth as a Catholic schoolboy admiring war ships in the harbor and imagining himself as a sailor, and then becoming one. Giambri does not shy away from his (mis)adventures, some charming, some blending trouble-making with impressive ingenuity, such as Giambri and his teenage coterie enjoying the use of a “borrowed” pharmacy coup the owner doesn’t seem to miss, or having a good time crashing weddings, often seeking out one that “looks good… with a crowd smoking outside,” and then wandering in “as though they’ve been there all along.”
Giambri’s focus throughout is less on his most important moments than the textures of a searching, creative life, packed with sharp character portraits (like the openly gay Francine, marching in drag at the Philadelphia Mummer’s Parade in the 1950s, ready to beat up anyone who made fun). The collection often reads more fascinating context than a standalone story, but it bursts with compelling context about an exciting life and culture at times of great change.
Takeaway: Vivid memoirs of an inventive midcentury life, from Philly to the Navy to NYC.
Comparable Titles: Anatole Broyard’s Kafka Was the Rage, Judith Stonehill’s Greenwich Village Stories.
Production grades
Cover: B
Design and typography: B+
Illustrations: B
Editing: B+
Marketing copy: B-
The anthropomorphic cast, reminiscent of a Sing movie, gives the gentle tone and optimistic outlook of the stories an Aesop’s Fables flavor as they fix society’s ills. The Scaled Guild implores: “Our world is constantly changing…why can we not see our own flaws and become better?” The accompanying stories follow a beetle private investigator searching for a missing teenage bat who was taking pictures of corrupt cops; a gay orc couple who decide not to move away when bigotry enters their jewelry store; and an orange bat gun-for-hire who’s encouraged by her crystalike roommate to leave the business.
The final story celebrates compassionate parenting as a mako shark archeologist guides his adopted seagull daughter through the Natural History Museum, providing a brief but tantalizing origin story of Aontech, whose mysteries can still power future stories. This book provides a welcome message of goodwill, morality, and people risking their lives to do the right thing and seeking justice. Readers of all ages will enjoy these stories of intelligent animals who can teach us about the better angels of our nature.
Takeaway: Anthropomorphic animals in a fantasy world offer gentle lessons in morality and justice.
Comparable Titles: Jo Walton’s Tooth and Claw, Jasper Fforde’s The Constant Rabbit.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
Everything's Better With You: An MM Sports Romance
Leslie and his brother Barry are revamping the athletics program at the college of their meet-cute, and want Joe there to coach cheer. Joe commits to a year of coaching, both to prove to himself that he’s more than just a dance star, and also to explore the love for Leslie that has always been bubbling under the surface of his life. The first few months are exhilarating, a budding competition between the two programs makes a perfect environment for playful banter and flirtation. However, as time wears on, Joe and Leslie must decide the life they want to build together and what each is willing to do to create it.
Merrill writes sexual tension and chemistry with irresistible charge, and the leads’ attraction and connection pulses on every page, building to satisfying scenes of intimacy and love. The prose is quick and witty, even as characters’ conflicts within the building of their relationship are believable and relatable, as Merrill takes seriously the difficult but common worries that thread together beautifully human lives. This strength only ties into others within Merrill’s writing, which is focused on the representation of queer joy in the romance genre. Gender disparities and prejudices are addressed with poise and wisdom.
Takeaway: Standout second-chance romance showcasing love, trust, and joy.
Comparable Titles: Casey McQuiston’s Red, White & Royal Blue, Liz Bowery’s Love, Hate & Clickbait.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Throughout Bittersweet Memories of Last Spring, Isma demonstrates the daily grind on one’s soul of building a life in a new country. His sister Nana feeds, cares, and offers live-in support as the two grapple to earn enough to maintain their sparse existence. The Miami Haitian community and Refugee Center link him to activism for refugee rights and support to overturn the Haitian dictator Duvalier. Vinco’s intensity for change fuels him to protest as his family remains under unjust rule. Despite his involvement in Haitian community politics, Vinco must carve his own road to victory. Soon he neglects Régine, as surviving in his new world takes every ounce of his energy.
Building confident decision-making skills and choosing who to trust demands true grit. When Vinco discovers Régine has arrived in Miami, his indecisive and contradictory actions backfire on him as he struggles to find his path and his loyalties amid contradictory friends. Readers will share his relief and excitement when he develops a relationship with the beautiful Michaela, who left the Dominican Republic at age three. Michaela has the love, support, and presence of her parents who have found their way in the United States. But even her support has its limits, and Vinco’s relationship inexperience jeopardizes his heart while he battles his emotions to focus on his studies. Isma demonstrates, touchingly, the loneliness and uncertainty that can come with the immigrant experience, while exhibiting perseverance.
Takeaway: Touching story of a Haitian immigrant finding his way in the U.S.
Comparable Titles: Kathryn Brown Ramsperger’s The Shores of Our Souls, Julissa Arce’s My (Underground) American Dream.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: A
This difficult young man suggests, at times, that his inability to find love must have something to do with his skin condition, but his account of trying to transform a workout routine with roommate Trish into a romantic interlude offers excruciating cringe comedy. At least Lisle has friends with whom he can share sad-sack complaints like “Society seems to have mechanisms in place to advance and protect the interests of everyone except single guys like you and me.” But they aren’t much healthier, as evidenced by one’s choice to kidnap John E. Bustelich, the biggest bully from their high school, and alter him through chemical injections.
That may sound suspenseful, but Anomie, true to its title, invests its energy in its protagonist’s ennui and isolation rather than narrative momentum. The book’s an immersion tank itself, asking readers to soak in his disaffection to maybe understand it. At times, Lisle suggests his inability to connect with most people is something that bullies like John bear responsibility for, but mostly makes the case that most people—like a hilariously tyrannical nephew—aren’t worth trying to reach. Fendry avoids easy answers, except for one pure, beautiful thing: Lisle’s love for that dachshund. As the mob calls for the extermination of dogs, Lisle at last has real purpose in standing outside society.
Takeaway: Pained novel of an alienated man told to surrender his dog for public health.
Comparable Titles: Amie Barrodale’s You Are Having a Good Time, Catherine Lacey’s The Answers.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Throughout Rites of Passage, Joe brings together hard-earned wisdom and stories that legitimately will “inspire future generations to explore their limits” (as Vitaliy Musiyenko puts it in the forward). Some of the tales shared are of people doing truly bold, risky things (such as, memorably, in the “Gorge of Despair”), but the contributors also always stress the need for climbers to be careful. The photos, illustrations, and sketchy topos (guides to climbing routes) help the reader feel the reality of these stories. Joe also helpfully includes bios of all the contributors, as well as endnotes and photo credits which would help the dedicated reader chase down more information about the Southern Sierra Nevada mountains.
Rites of Passage is full of detailed and technical accounts—such as of mastering complex walls and difficult crack systems with only sketchy descriptions to work from. That is the spirit of the Sierra Nevada which Joe hopes to pass on to a future generation: enabling future generations to “climb as if the route was being done for the first time,” as one contributor puts it, and truly experience the wilderness. For those who love the outdoors, particularly members of the “small spiritual tribe” of climbers, this is a beautiful and inspiring collection of stories, reminiscences and wisdom about the southern Sierra Nevada—and what it takes to thrive there.
Takeaway: Gorgeous, inspiring stories and photos of climbing the Southern Sierra Nevada Mountains.
Comparable Titles: Clarence King’s Mountaineering in the Sierra Nevada, Lauren DeLaunay Miller’s Valley of Giants.
Production grades
Cover: B-
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A
Kilgore also includes plenty of material beyond his experience with Christ in The Spirit’s Call. At times, his verses are playful, as in “The Grandchild” “As grandkids go // They are such fun, // They make us laugh // They love to run,” and at others solemn, as in “Sails Up” “For me you should not worry // Of that where I have gone, //With set sails and bow pointed // I will be sailing on.” Readers who can excuse some typographical errors will find his poetry to be accessible yet expansive in encapsulating the breadth of human experience, especially for those who follow the Christian faith.
Life is both silly and tragic, “as pertains to God’s plan,” and Kilgore’s collection provides poems that can serve Christians in each season of their lives, whether they require prayer, guidance, or a path to spiritual inquiry. In his introduction, Kilgore expresses the hope that his poetry will “explain God’s mysteries,” yet his collection goes far beyond that desire; it explores, and in this exploration, he offers readers of faith something better than answers: “Yet do we know the reason // Of what we see at night? // Perhaps it’s just the echo // Of words - - ‘Let there be light…’”.
Takeaway: Lyric, accessible poems deeply rooted in prayer and a spiritual connection to Christ.
Comparable Titles: Luci Shaw, Scott Cairns’s Anaphora.
Production grades
Cover: B
Design and typography: B
Illustrations: B
Editing: C
Marketing copy: A-
The insider peek behind the scenes of the horse racing world is intriguing, especially insights into care and training, and observations like “even if you lose the first eight races, there is always the hope that the ninth will be your lucky race.” Gennie’s dilemma, meanwhile, will resonate with readers who have faced tragedy and upheaval. With new friends, a new boyfriend, and a new perspective on her life, Gennie has to decide between the future she thought she wanted and the future that’s suddenly opened up to her, giving readers tremendous opportunity for deep emotions alongside Gennie as she learns, grows, and blossoms.
The prose is mostly clear and inviting, though Dulka occasionally describes scenes in terms of camera angles and cinematic framing (“Our camera zooms out from her content smile, revealing the cluttered rec room…”), which works well in some opening chapters, as Dulka specifically contrasts the reality of horses with how they appear in movies. Later, though, it’s not as clearly motivated and somewhat jarring. The romance itself is sweet, and Gennie is a likable character who experiences very real, life-changing tragedy that will spark compassion in readers and inspire them to persevere no matter the circumstances.
Takeaway: Sweet YA slice-of-life in the world of horse racing.
Comparable Titles: Kate Marchant’s Float, Joanna Campbell’s A Horse Called Wonder.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
The tale again is one of discovery—of how the world works, of how civilization is of course just as brutal and competitive as nature— as Finbarl must raise the money to pay mercenaries to get them back, with the help of possibly duplicitous cityfolk, and his new companion Maddy, one of the mute “Ferral” humans of the wild that Finbarl and company were raised to fear and hate. Maddy’s an inspired creation, the embodiment of Wrey’s wide-ranging empathy: the Ferrals are complex and human, like everyone in this series, even the princeling whose house now owns Karlmon—and who upends reader expectations.
Wrey plots smart surprises and some winning set pieces, such as a brutal horse race or the unexpected method that Finbarl hits on to raise cash. Better still are the consequences of Finbarl’s choice, especially for Maddy: if Finbarl is seen as a rural rube, she’s straight-up uncivilized—an easy scapegoat when city life proves as brutal as the wilds. The novel’s long, and it feels like a middle volume, with much setting up of the cultures, politics, and relationships, at times at the cost of narrative momentum. But its people, ideas, and themes are smartly developed, updating the themes of Edgar Rice Burroughs for an age of dystopian visions and inclusive imagining.
Takeaway: Post-apocalyptic epic pits refugees against the corruptions of civilization.
Comparable Titles: M.R. Carey’s The Book of Koli, David Gemmell’s Jerusalem Man.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
The book begins with a helpful narrative setting the scene for readers, with companion maps as he lays out the geography of the community and the unspoiled lands around their rudimentary home. The prose is conversational and comforting in its delivery and tone. Aside from the compelling story, the memoir could almost serve as a handbook for homesteaders with its plain-spoken facts, such as defining a “rick of wood,” explaining the finer points of washboard usage, and celebrating the process of building a cabin from “30 or 40 trees.”
The theme of overcoming adversity and finding common ground with your neighbor are persistent. Jennings takes note of one Okie classmate in particular who prepared lunch for his siblings at school each day with bread and lard “without fanfare or excitement.” His respect for this boy and others, their work ethic and humbleness, is evident. Patriotism and religious pride shines brightly throughout the chapters, where Jennings reflects on small moments with classmates and teachers and acknowledges the blessings of both his church and country. Because there is no hiding of differences or struggles, Jennings’ memoir stirs a fast and enduring connection.
Takeaway: Warm, positive memoir of growing up on a Hoopa Reservation in the Great Depression.
Comparable Titles: Mary Ellicott Arnold and Mabel Reed’s In the Land of the Grasshopper Song, David Rains Wallace’s The Klamath Knot.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A-
With a seldom-sober narrator inveighing against “QAnon twaddle over who was really to blame for the pandemic,” Wheeler’s novel is more an audacious spree than a conventionally plotted story, crafted to challenge and unsettle readers, building to surprises like Dizzy’s relationship with three immortal beings. There is a structure, though, as each of six parts opens with a (fictionalized) quotation from “Q” of QAnon and then usually depicts Panama-hatted Dizzy engaging in circular dialogues about the world’s problems (“Use the President Trump [a boat] to blow up President Trump”) and headier concerns, like the origins of the persistent American belief that nefarious forces secretly control everything.
In the rare moments where the characters take action, Wheeler leaves it to readers to make sense of their motivations and what’s real and not. The novel’s pointedly not for everyone, and even some characters find it all a little much, with one noting “I like you, Diz, but you’re too cerebral for me.” But there’s gems and provocative declarations dotted throughout, and readers who can get on Dizzy’s wavelength will feel like part of the conversation.
Takeaway: Playful, provocative novel of conspiracy and immortality in the Qanon era.
Comparable Titles: Brenda Lozano’s Loop, Evan Eisenberg’s The Trumpiad.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: B
García Ordaz, who drew inspiration for his poetry from his brother’s untimely death, skillfully balances humor and solemnity within his writing, grasping that elusive sense of healing through the lighthearted banter that he references early on. He moves from a refrain on distinctive pets in “Pet Names” (“But not everyone owns cats or dogs./ Some go night-night with their hogs.”) to musing on the ins and outs of love in “The Ballad of Lizzie and Larry”: “Love doesn’t live just in pages of books./ It lives concealed right under our view./ We must open our eyes and just take a look.” That surprising insight persists, but García Ordaz is careful to keep the wisdom at a level that will please middle grade readers.
The inclusion of thought-provoking prompts before each poem gives the collection added depth, as does the sprinkling of creative activities García Ordaz pairs with his writing (fun pursuits like drawing the pets featured in the poems dot the pages). Perhaps most impactful is his consistent attention to the beauty of language in a host of forms, whether that’s his Spanish translation of several poems or the suggestions to use his poetry as a basis to explore more complex topics. This collection takes the “play on words” to a whole new level.
Takeaway: Entertaining poetry that balances humor with solemnity and heaps of winning wordplay
Comparable Titles: Chris Harris’s I’m Just No Good at Rhyming, Karen Jo Shapiro’s Because I Could Not Stop My Bike.
Production grades
Cover: B-
Design and typography: B+
Illustrations: B-
Editing: B
Marketing copy: A-
Young readers will admire Mimette’s bravery as she refuses to abandon her passion, even as she’s faced with the danger of being trapped and killed. She spends her time soaking up the nightly performances and dedicates hours during the day to watching and learning from the opera house’s ballet mistress, perfecting her own pirouettes until she transforms into “a beautiful dancer.” Even the last-ditch effort by management to capture her fails: when famous cat Hobart, “the best opera house mouse catcher in the world,” is brought in, he’s entranced by Mimette’s dancing and reflects on her “arabesques… [as] the most exquisite I have ever seen.” His admiration prevents him from harming Mimette, though the two work together to keep his reputation intact and give Mimette the freedom to dance unhindered.
Krohley’s digital illustrations evoke the sophistication of refined ballet performances, with breathtaking sets and elegant costumes spinning across the pages as Mimette and Hobart press on towards their happy ending. Those readers devoted to dance will find much to relish here, as Krohley masterfully elicits the magic of a star performance under the shimmering lights—in Hobart’s own words, Mimette seems to “[float] on stage,” and her dedication to becoming a one-of-a-kind dancer will inspire as much as it entertains.
Takeaway: A young mouse achieves her dream to dance ballet against all odds.
Comparable Titles: Clive McFarland’s Caterpillar Dreams, Debbie Allen’s Dancing in the Wings.
Production grades
Cover: B+
Design and typography: A
Illustrations: B+
Editing: A-
Marketing copy: A
Mason’s intricate knowledge of Key West, its restaurants, beaches and popular tourist sites, shines through as he brings the charm of the island to life by clear physical descriptions. Turtle Crawl captures the location’s aura and appeal, connecting readers to its essence and emphasizing not just the natural beauty but the beauty of traditions of island life itself.
That provides an engaging backdrop for the slowly building romance between Rose and Kurt. Rose shows Kurt the most popular restaurants, beaches and festivals and advises him on why bicycling is the perfect mode of transportation as they get to know one another and disclose heart-wrenching details behind their past relationships. In a culture where stories of finding all-encompassing love often are viewed through the lens of the rich and beautiful, Mason has created a romance between two seemingly unremarkable people, whose caring for one another creates a pleasing, fast-paced love story.
Takeaway: In Key West, a divorced waitress and a carpenter feel their way toward love.
Comparable Titles: Miki Bennett’s Run Away to the Keys, Deb Rogers’s Florida Woman.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
