For Tarot readers old and new, this is a smart, demystifying guide worth refering to often. In Latin, “arcana” means secrets, Grant advises. In Tarot terminology, it refers to two categories: Major Arcana (22 cards representing life’s spiritual lessons) and Minor Arcana (56 cards symbolizing everyday life events). Grant dedicates a chapter to each of the 78 cards, explaining in depth the significance. The minor arcana each have a defined area, with cups representing emotions, love, relationships, and creativity; pentacles represent material possessions or career-oriented matters; while swords, which symbolize action or conflict, often relate to mental states or communication issues. Grant also provides actionable steps, advanced steps for some of the cards, and the meanings of upright and reversed cards.
While some readers may scoff and dismiss Tarot as a new-age weird practice, psychologists praise the Tarot cards as tools for metaphorical thinking during therapy sessions. Grant also notes that the American Psychological Association shows tarot readers are more intuitive and empathetic than nonreaders, a tendency exemplified by the author’s warm tour through the decks and their resonance in the lives of practitioners. The perfect guide for beginners learning Tarot, Grant’s empathetic teaching provides a comprehensive view of the craft.
Takeaway: Comprehensive guide for readers seeking to learn the nuances of Tarot today.
Comparable Titles: Liz Dean’s The Tarot Companion, Emmi Fredericks’s The Smart Girl's Guide to Tarot.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Highlighting the importance of helping others and providing educational information about ocean life, Vozzo creates an imaginative story featuring a resourceful plumber and lively characters that young readers will enjoy. Poseidon's friendly nature and his way with a wrench and plunger become legendary, suggesting to young readers that talent and learned, practical skills can take you where you want to go. Readers familiar with the Greek god of the sea will enjoy seeing the aptly named protagonist of this story flourish in his snorkel gear amid Nina Mkhoiani’s vibrant illustrations that showcase sea creatures, coral reefs, and other charming detail.
The art and layout, mostly in two-page panoramic spreads, is imaginative, with shell homes, bioluminescent sea sponges, a host of wide-eyed fish and crustaceans, and a faint, bubbly digital gloss suggesting the strangeness of life underwater. Even the eels look friendly, and Poseidon’s face communicates warmth even through his dive mask. The low stakes of the tale may diminish some readers’ interest, especially as Poseidon’s actual plumbing action is more suggested by the text than compelling dramatization, with the illustrations emphasizing the milieu over any narrative drama. The result is an inviting hang-out story that offers fun under-the-sea vibes and friendship.
Takeaway: Sweet and chill undersea adventure of Poseidon the plumber, unclogging the depths.
Comparable Titles: Meeg Pincus's Ocean Soup, Kelly DiPucchio's Oona.
Production grades
Cover: B+
Design and typography: A
Illustrations: A-
Editing: A
Marketing copy: A-
Parent packs plenty of characterization in his brief tales. Each delves into the prickly resentments and bubbling rages that simmer beneath the surface, only to be exacerbated by supernatural fiends. The somber and gut wrenching tale celebrating Dia De Los Muertos follows a tormented veteran reliving the carnage he witnessed by the Taliban in Afghanistan. He uses his monstrous powers, borne of grief and guilt, as payback against the evil doers of today. Epitomizing how revenge is sweet, “Black” features a cheating husband with a bad heart planning to repair his marriage, until his wife invites him on a haunted hay ride with ulterior motives.
In the witty “Last Halloween,” 13-year-old Jessica’s best friend thinks they’re too old for trick or treating, but Jessica’s tattered spider costume comes in handy when an interdimensional portal unleashes hellish monsters. Terrifying takes on the traditional haunted house theme, blood suckers, psychopaths, ghouls needing replacement parts, and hellish carnival rides provide readers the scares they expect, honed by Parent’s crisp descriptions and unexpected thrills.
Takeaway: Creepy Halloween tales thrill with haunted houses and monsters in the shadows.
Comparable Titles: Ronald Kelly’s The Halloween Store, J. Tonzelli’s The End of Summer.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
Wischowski’s atmospheric writing playfully explores huddled-around-the-campfire storytelling, with an emphasis on the possibilities of the oral tradition—the standout “The Tale of Black Hands” opens with a consideration of how the teller always refreshes the tale, no matter how familiar. Such intimate narration—including clever uses of direct address and unreliable storytellers–conjures the feeling that the reader is being let in on a secret. Standout stories include “The Ghost of John,” where a corpse discovers, rather gruesomely, that he’s not all there. “Grandson” details a scam attempt with devastating consequences; “The Gashadokuro” follows a family stalked by giant skeletons from Japanese folklore; and “Circus Fortune” describes a young boy’s chance encounter with a hypnotist at a county fair.
The only thing that detracts somewhat from an otherwise excellent collection is an essay at the end of the book about “ghost science.” The author posits some scientific theories about ghosts, with a marked tonal shift from the rest of the collection. Although designated a middle-grade YA collection, it holds great appeal for seasoned horror fans. With much original flair but also nods to other nostalgic spook-out hits like Goosebumps and Scary Stories to Tell in the Dark, this earns its place on the discerning horror reader’s bookshelf.
Takeaway: This spooky collection is full of scares for all ages.
Comparable Titles: Anastasia Garcia and Teo Skaffa’s Ghostly, Ghastly Tales, Christian McKay Heidicker’s Scary Stories for Young Foxes.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A-
With Tom out of the picture, Grandy weaves a surprising thriller that lives up to its title, with a complex cast of perspective characters, each thoroughly developed and compelling. The storytelling is brisk but attentive to contemporary cultural divides—Miriam’s father, James, considers Canadians too casual and muses there’s “no room in his world for a namby-pamby liberal like Tom.” While the prose tends toward the flatly declarative, the cleverly plotted mystery will keep fans of corporate and personal skullduggery hooked until the dramatic, action-packed finale. Grandy blends traditional mystery elements—Liu peruses a wall of suspects and considers each’s motives—with 21st century tricks. Grandy also convincingly brings life to Toronto’s tech scene and, more crucially, how the minds of its leaders work, clearly reflecting the author's own experience in the industry.
The story also delves into themes of COVID-19 and American politics, which might resonate deeply with some readers while feeling divisive to others, depending on personal perspectives. Overall, it's a thrilling and well-crafted read that will captivate fans of tech-driven mysteries.
Takeaway: Smart mystery of a tech CEO, tangled schemes, and many suspects.
Comparable Titles: Christopher Reich’s The First Billion, Chandler Baker’s Whisper Network.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
Blaine captures Dorian’s disgust at the economics of the art world in compelling rants. “It’s high time we hold those presently living and responsible for our misery and enslavement to the museum system accountable or let them make their own sacrifice in blood,” Dorian declares. Amid lengthy, sometimes electric discussions of art, money, and divinity, Amadeo falls in love with an Afghani woman in Dorian’s orbit—a woman who warns him she’s under constant surveillance by forces from back home who will kill if she is too close to man—and is tasked by his hilariously profane American handler with gathering DNA from the Paris circle whose friendship gives him life.
There’s much more happening in this thoughtful-but-overstuffed novel, including a “Doomsday painting,” rumors of an antichrist figure, and the rise of a murderous Dorian cult destroying history’s great artworks. Sharp, heady dialogue and themes of creation/destruction, art/finance, and revolution/terrorism all fascinate, but the twisty, time-vaulting structure is frustrating and a challenging to keep up with, and the prose’s density tends to squash momentum and clarity. Still, there’s much promise here.
Takeaway: Hugely ambitious philosophical thriller of art, finance, and revolution.
Comparable Titles: Peter Weiss’s The Aesthetics of the Resistance, Rachel Kushner’s The Flamethrowers.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: B-
Marketing copy: B
Most of Age of Decay, however, is penned as straight-ahead forecast of how, starting around 2020, the era of continual growth gave way to a new age of “continuous contraction and decline.” With case studies of nations like Japan and Italy, Ismail shows the work behind his dire warnings of declining living standards, a shrinking tax base, continual shortages, and even a decline in institutional memory at businesses. Ismail’ persuasively demonstrates that it is likely that many nations will hit a “tipping point where they have too few essential workers to keep their societies functioning optimally.” Also convincing: his insistence that tech won’t solve all problems: “How do you automate nursing care for the aged,” he asks, “which requires compassion and interpersonal engagement?” Less persuasive is the argument that young workers’ tendency to change jobs suggests a lack of ambition in workers themselves.
Setting Age of Decay apart from some works about declining birth rates is Ismail’s embrace of immigration as a source of both workers and consumers, especially from Africa, whose “growing prominence and influence … on the future world stage cannot be overstated.” He warns that “populist political sentiment against immigration” in the U.S. could cause the nation “to lose its current advantage in worker-aged population.”
Takeaway: Alarming forecast of the impact of declining birth rates on economies and societies.
Comparable Titles: Darrell Bricker and John Ibbitson’s Empty Planet, Dustin Whitney’s Demographic Deception.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A-
Duff's writing is intimate and reverent as she examines Gretchen's secret truths—and her own. "Perhaps by reading Gretchen’s journals and delving into the past, I would find what I longed for,” Duff proclaims, and, once she decides to embark on the emotionally taxing journey of reading Gretchen's left-behind words, that wish comes true. She reflects on unfathomable, violent trauma from her childhood and its connection to her relationship with her husband, adult children, and her parents, linking her need for self-discovery and healing to the past’s shrouded secrets, while pressing into her unwavering faith to finally make peace and settle into a place she can truly call home.
"Gretchen scared me because her honesty exposed my dishonesty," Duff writes, and the memoir brims with her realizations that moving forward often hinges on digging into the past. Her efforts, though painful, are rewarded, as she comes to terms with the darkness and emerges stronger on the other side. These powerful parallel stories are captivating—and at times emotionally devastating—as Duff sludges through understanding, acceptance, and letting go. “Asking questions—doubting if you will—is part of the mysterious process of bringing truth to light,” she observes—powerful parting words that will linger in readers’ minds.
Takeaway: Emotional memoir examining mental illness, faith, and repressed family secrets.
Comparable Titles: Amanda Stern's Little Panic, Meg Kissinger's While You Were Out.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
Gilbert’s prose deftly captures the complexities of the family’s fraught relationships, forging relatable friction that brings their underlying dynamics into the spotlight. Grace, forced to cope not just with a terminally ill husband but also with regret at having allowed herself to live a limited life, treads the dangerous waters of rebellion against what she views as her husband’s unreasonable decisions, while each son’s perspective paints a different side of a domineering, rigid father, insistent that his children learn to manage their own lives, even as he refuses to be sent to “a house of the dying” when his health becomes too challenging to manage at home.
Reunion by the Lake favors the slow burn of family discord over more defined climactic scenes, and readers may wonder at the childhood incidents that led to the family’s fractured relationships as adults. Still, their frayed bonds are engrossing, marked by complex mindscapes and intricate layers of mistrust, bitterness, and self-pity that lend the narrative a tremulous feel. Though eruption feels just around the corner in nearly every scene, Gilbert chooses to end the story on a more positive note, leaving readers with a hopeful antidote in contrast to the novel’s smoldering beginnings.
Takeaway: Family dysfunction takes center stage when a dying father discloses his will.
Comparable Titles: Cynthia D’Aprix Sweeney’s The Nest, Jami Attenberg’s The Middlesteins.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
With historical astuteness, Sandvig portrays the Dakota revolt as a last stand against years of disenfranchisement and displacement. Readers witness the gut-wrenching aftermath of the conflict—burned settlements and innocent settlers, hanged men, and the gruesome internment of women and children at Fort Snelling. Emilie’s journey—heavy-heartedly leaving her mother to search for her missing father, despite the looming threat of Dakota warriors hunting mixed-bloods, and discovering long-buried family secrets along the way—teems with courage, as she continues to forge her identity and champion justice with an indomitable spirit, amid the violence and grief of losing her loved ones, freedom, and home.
Though certain subplots, such as Paltrey's opportunistic schemes, feel underdeveloped, they underscore the moral ambiguities of war and the selfish exploitation it breeds. More than a story of territorial dispute, this novel delves into the threat of cultural erasure and how injustice fuels hatred. Emilie’s moral dilemma—“But who were the wicked?... Whites who took our land in the first place? Or Dakota warriors who slaughtered innocent settlers and stole our peace?”—resonates deeply, yet Sandvig balances this with an underlying message of cultural preservation, survival, forgiveness, and hope.
Takeaway: Profound tribute to devastating history of the Dakota community.
Comparable Titles: Linda Hogan’s Mean Spirit, Louise Erdrich’s Love Medicine.
Production grades
Cover: A
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A
Wagner-Wright paints a vivid picture of late 18th century America, offering rich details of daily life and society amid the story’s broader themes of commerce, competition, and personal ambition. Her adept use of technical maritime language highlights the novel’s many voyages, allowing readers an inside seat to the coastal runs and whipping storms that characterized a merchant’s life in the 1700s, and detailed descriptions of trade routes, major ports, and the goods exchanged provide a compelling backdrop. Likewise, Wagner-Wright’s inclusion of historical embargoes—and their impact on maritime families—seamlessly weaves into the story, threading layers of complexity into the plot.
Each chapter delves into the lives of its ensemble cast, revealing the individual struggles of characters like Nathaniel West and Lizzie Rowell, as they navigate the unpredictable, dangerous, but strangely rewarding life of 18th century Salem, strikingly portrayed in one captain’s words after a devastating storm blows his ship miles off course: “If I fail, I’m no worse off than I am now, but if I succeed, I’ll prove myself.” The book’s pacing may not be relentless, but Wagner-Wright’s careful adherence to historical events and the personal dramas behind them makes it a worthy read.
Takeaway: In-depth study of Salem’s maritime families in the late 18th century.
Comparable Titles: Anya Seton’s The Winthrop Woman, Paul C.R. Monk’s Call of Freedom.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: A
Marketing copy: A
The moon’s dystopian conflicts, like the culture, biotech, and everyday challenges of lunar life, extrapolate from contemporary concerns in resonant ways. As Tonic's music becomes associated with violence, the manipulative chairman of the corporation Nox exploits her growing debt, coercing her into increasingly dangerous and illegal activities. Desperate Tonic delves into the Dive, where she crosses paths with Kaet, a graffiti artist, and his ex, Blau, a hacker, as they uncover dark secrets about Nox. Revealing the streets of the Dive, concert venues, underground networks, and more, the narrative paints a haunting picture of a society that has lost touch with its humanity—a humanity that Adams-Dufresne centers, even as the mystery grows tense.
Color of a Mirror excels in world-building and delving into the psychological complexities of its fascinating characters. The plot occasionally takes a backseat to atmosphere and character, as sensory-rich prose vividly brings to life the sights, sounds, and emotions experienced through Tonic’s visor. Lovers of thoughtful SF and cyberpunk will relish this compelling tale that grapples with themes of identity, corporate greed, and the relentless struggle for personal autonomy.
Takeaway: Striking and humane SF mystery on the moon in the late 21st century.
Comparable Titles: Charlie Jane Anders’s The City in the Middle of the Night, David Pedreira’s Gunpowder Moon.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Using alternating points-of-view, Damon concisely and efficiently introduces the four main characters, with quick, vividly detailed opening chapters that immediately draw readers in. None of the featured four are doing particularly well in their own lives—Harold is an insecure man with a failing business and a failing marriage, exotic dancer CeeCee just wants the funds to open her own spa, Alex is struggling as an actor and writer, and Helen, a curmudgeonly older woman, feels disconnected from a world that has moved on without her—but their common fear, that they could be next on the killer’s list, unites them. In addition to the external tension of jurors rapidly disappearing, the ensemble cast keeps readers on their toes, with constant bickering and infighting that make this band of unlikely sleuths strangely likable.
Between the zany moments, quick thinking to get out of sticky situations, and humorous gaffs of amateur detectives, readers will relish this roller coaster ride, though some of the story’s descriptions—references to CeeCee paint her as empty but conniving, with “eye-popping boobs, the size of melons” while Helen is branded a “titty bar reject” in one scene—distract from the central mystery’s flair. Still, this an entertaining, worthwhile whodunnit with a truly enticing cast.
Takeaway: Quick, engaging mystery of amateur detectives tracking down a serial killer.
Comparable Titles: Richard Osman’s The Thursday Murder Club, Benjamin Stevenson’s Everyone in My Family Has Killed Someone.
Production grades
Cover: C+
Design and typography: A
Illustrations: N/A
Editing: B-
Marketing copy: A
Suspense builds as Duncan teams up with his tech-savvy friend, Tesla, who cracks open the doors to a world of international espionage and cyber warfare more intricate and dangerous than Duncan ever imagined. Oster's writing shines with its seamless integration of spy drama, geopolitical strife, and technological elements, with the inclusion of real-world cyber threats like the notorious Stuxnet virus and cameos from infamous CIA operatives Philip Agee and Aldrich Ames that lend the narrative a cinematic feel. The spy intrigue is top-notch, but Oster’s heavy lean on espionage framework and straightforward monologue sidelines the more nuanced emotional undertones of Duncan's grief and frustration. Still, it is that trade-off that ramps up the tension, as Duncan's persistent, no-holds-barred pursuit of answers leaves readers with the same gnawing question: was Deborah a hero or a villain?
Oster crafts a pulse-pounding, action-powered narrative, all while navigating the convoluted and deceptive world of espionage, the gray areas of morality, and the idea of complete transparency in marriage, making this high-stakes thriller both charged and contemplative. Readers will find themselves rooting for Duncan's clarity and closure until the end.
Takeaway: High-stakes spy thriller built on themes of marriage and betrayal.
Comparable Titles: Chris Pavone's The Expats, Olen Steinhauer's The Tourist.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A-
The star of that herd turns out to be Harvey, a black calf who, after the storm, can’t seem to recuperate—his gait is off, and he can’t eat without help. Helga makes it her personal mission to nurse Harvey back to health, and her care is sweet to behold, as she hand feeds him, walks beside him to retrain his stride, and snuggles him into recovery. Young readers will treasure that close bond and cheer out loud when Harvey moos for the first time. Helga is soon motivated to “find a safe place” for Harvey and the other calves, launching her business idea to sew “cowches”—cow-shaped couches to fund her own farm. That takes off, and after a lot of hard work, Helga opens The Cow Sanctuary.
Denise Tremblay’s illustrations beautifully render the calves’ expressive eyes and playful antics, and the song refrain shared throughout—“Hey, hey, babies, I wish I could change the world"—transforms into a mantra for animal conservation by the book’s end. Tacreiter, with the help of PETA, closes with opportunities for readers to become animal stewards themselves, a fitting conclusion for this animal-friendly tale.
Takeaway: Conservation-minded tale of a farmer determined to save orphaned calves.
Comparable Titles: Jessica Stremer’s Lights Out, Zoe Tucker’s Greta and the Giants.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Poignant, brutal, and unflinchingly honest words bleed onto every page as Neighbors spares nothing—recounting an affair with a married man, receiving unfair probation and false accusations, and struggling with bouts of depression and paranoia. Her disarming candor about her guilt and imperfections—having a privileged background, self-sabotaging, self-loathing—are often painful to read, but her straightforwardness offers a merciless clarity on how addiction and impulsive decisions are merely misguided escapes from a "never-ending battle" with oneself, so often rooted in trauma, familial neglect, misjudgment, and mistreatment.
The fragmented prose jumps from memory to memory and may confuse some readers, but it mirrors the mania, paranoia, and sheer magnitude of problems that Neighbors contends with, suggesting how healing is never linear. Her story, both a candid confession of the courage it takes to embrace life's imperfections and a fierce fight for the truth, proves how "everyone has a degree of mental illness," even those who seem to have it all. This unapologetically unfiltered memoir empowers, imparting resilience and a raw plea to be kind—to others, but most especially, to ourselves.
Takeaway: Razor-sharp memoir about battling mental illness amid heavy external pressures.
Comparable Titles: Kay Redfield Jamison's An Unquiet Mind, Jamie Blaine and Vicky Lanzone’s Life Is Crazy and We’re All Going to Die.
Production grades
Cover: B-
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A-