
Although the novel spans the 1960s with flashbacks to previous decades, Thorndike’s present-tense storytelling imbues the material with immediacy, while its sense of history, such as Ginny’s brief affair with legendary sculptor Isamu Noguchi, entices readers to see the world freshly. Thorndike alternates between the perspectives of Ginny and Rob, revealing the love Ginny yearns to show her children and the loyalty they give in return. Rob’s unusual life path immerses readers in a full range of emotions, from sensual thrill to abject loneliness. Striking language and poetic and historical detail bring vivid life to the emotional journey.
Given the convincing plot and fully fleshed out protagonist, it is no surprise that a real woman inspired the novel: Thorndike’s own mother, which accounts for the shared last name. But this is no memoir—Ginny’s free-spirited choices and dark struggles measure up to fiction’s great protagonists. Her self-awareness and wit garner affection and sympathy as readers hope she finds relief from the memories that haunt her. Fans of women’s fiction and family drama will savor Ginny’s search for happiness, and readers will miss Ginny and her children long after finishing this moving stunner.
Takeaway: A stunning drama that delves into one woman’s bid for romantic satisfaction, even at the price of desolation.
Great for fans of: Elizabeth Strout’s Olive Kitteridge, Ann Patchett’s State of Wonder.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: A-

“The Pitch” is not just about a day in the life of a marketing and PR person, but also a satire that inks organized religion to brilliantly thought out marketing campaigns. “Silver Tweezers” and “Jaffa Oranges” offer beautiful depictions of the father-son bond through shared activity, while “Ten Houses” and “My Imaginary Girlfriend” adeptly paint loss and loneliness. Among the several stories about friendship, especially male friendships, “Shwartzman’s” and “The Reminder” stand out for sheer hilarity and ‘Stocking the Pond’ for never once slipping into mawkishness. “The Rumor” and “Shprintza” effectively bring out horrors of the early twentieth century–life in a dictatorship and the Holocaust–by just alluding to them. “Theory of Relativity” and “Theo and Me” sketch the ups and downs of being a writer, the struggle to get traditionally published, and the joy and exhilaration of being accepted and appreciated, all in a lighter vein.
The language is casual and engaging, with the inviting feeling of being in the company of close friends, after a good meal, relishing a well-told anecdote. This highly enjoyable collection will not only capture readers’ hearts with its humor, it will also leave them feeling more charitable and magnanimous towards this world, which Zevy makes seem a touch brighter.
Takeaway: These comic vignettes, drawn from life, create the feeling of being regaled with a friend’s best anecdotes.
Great for fans of: P. G. Wodehouse, David Sedaris.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Readers fascinated by the day-to-day life of the past will be drawn in by the thoroughly detailed depiction of travel from Europe to the Americas–Michalik’s research reveals the logistics and practical considerations of every leg of the journey–as well as the larger historical aspects that Michalik includes, particularly the political and social aspects of daily life for rural Slovak villagers. The choice to emphasize historical detail, such as the lecture a character delivers about the holds and refrigeration of a cargo vessel, comes at the expense of narrative momentum, with Michalik’s love story lacking some intensity, and several promising plotlines fading into the background without making a larger impact.
Jan's travel, which is not instigated by tragic circumstances, naturally stirs a sense of adventure and optimism. But Michalik doesn't neglect to highlight the uncertainties and difficulties facing immigrants in that time period—including the hardship of leaving loved ones behind, knowing you may never meet again, with only slow and unreliable mail as a form of communication. This heartfelt story showcases the perseverance and steadfastness required when taking a leap of faith to start a new life.
Takeaway: This inspiring, detail-rich immigration story will speak to history lovers fascinated by the early 20th century American experience.
Great for fans of: Mary Antin's The Promised Land, Adriana Trigiani's The Shoemaker's Wife.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A
Kelleher’s story is told with disarming frankness, aimed at Christian readers for whom the sentiments about seeking peace over grief in prayer and scripture, or in the conviction that God has a greater plan, will resonate. Kelleher describes herself throughout as a steadfast believer who dedicated herself to the Bible and prayer in order to maintain a relationship with–and to understand–God. The Arlington Wetlands of Illinois, which she calls a “‘Holy Land’ of weeds,” offered opportunity to deepen that connection, and she describes it with passion. Readers looking for answers from outside the faith, however, should seek elsewhere.
Kelleher’s genuine character and questions of faith will connect with believers. Her tone is earnest, thoughtful, and appreciative, and she writes with slow candor, suggesting the drift of mind of her walk, often meandering into deeper thought and capturing memories of a life well-lived. While grieving loss, she is simultaneously facing the reality of her own mortality, considering her fears and feeling gratitude surrounding her age. Beyond the Visible Edge makes clear on each page that she loves God, nature, family, dogs, and the life she has devoted to being a Christian.
Takeaway: On a wetland walking path, a grieving mother feels her way toward healing in this Christian memoir.
Great for fans of: Steve & Sharol Hayner’s Joy in the Journey, Gary Roe’s Shattered.
Production grades
Cover: B
Design and typography: B+
Illustrations: A-
Editing: B
Marketing copy: A
Evans’s terms “love” and “honor” stem from the romantic relationships between caste or religious sects, where the term “honor” (or questioning one's honor) comes from societal and traditional expectations surrounding marriage and family. Evans questions what it means to honor, and what can be changed when relationships inspire violence and “[echo] themes found in legendary stories.” He sees telling these stories–and spreading the word that nonviolence is an acceptable alternative–as a step toward ending the phenomenon.
Stemming from his research that led to a PhD, this compact, approachable volume reads a bit like a thesis, though Evans, who is not a resident of the region, rather than just document a phenomenon, urges action, arguing what needs to be done to stem honor killings and suggesting that there’s a clear path of “stepping stones” leading to “progress.” (His research is qualitative rather than quantitative.) Those interested in peace, justice, and reconciliation issues will find this book of interest, and those with a particular interest in religious studies, myth and world literature, and law will also find much of Evans’ research compelling.
Takeaway: A compact, approachable treatise on the phenomenon of honor killings and forbidden love in Northern India and Nepal.
Great for fans of: Minoo Alinia’s Honor and Violence against Women in Iraqi Kurdistan, Ayşe Önal’s Honor Killing.
Production grades
Cover: B-
Design and typography: A
Illustrations: C
Editing: A-
Marketing copy: B
From the opening pages, Webb’s story teems with intrigue, mystery, and enticing uncertainty. Readers are thrust into Oscar’s anxiety-stricken world as he awaits Jessica’s arrival. Time-alternating chapters between Jessica’s then and Oscar’s build suspense and provide critical background information, while revealing character and teasing out the pleasingly layered and perplexing truth, especially once Oscar gains a bit of her trust and realizes that Jessica’s silence and unwillingness to cooperate in the investigation might not be a sign of guilt, but her way of protecting someone close to her.
A reluctance to reveal their true selves thematically connects the two characters, and Webb’s short, crisply written chapters, most building to moments of decision or excitement as past catches up to present, reveal their experience in counterpoint while inviting readers to unravel their secrets. “We’re all a little afraid of what we are,” someone tells Jessica. Webb also takes full advantage of the opportunities for engaging subplots offered by the world of Whitner Hospital and its environs, such as Oscar’s budding relationship with colleague Hale, while trouble with the backstabbing, envious Charles Aston increases the stakes with workplace drama that is sure to keep readers engrossed in the story.
Takeaway: Fans of mind-bending psychological thrillers will appreciate this tangled tale.
Great for fans of: Alex Michaelides’s The Silent Patient, Lisa Socttoline’s Every Fifteen Minutes.
Production grades
Cover: B
Design and typography: B
Illustrations: N/A
Editing: A-
Marketing copy: A
Beyond the playful fanciful elements, Lee (Second Chances) imbues the tale with an engaging satiric flavor, with the whimsy and magic giving way to comic consideration of economic and infrastructure concerns in a village where the Wizards’ Council and a Witches’ Coven attend meetings with the local Chamber of Commerce. When local businesses begin to suffer, they come after Mervyn, who is attracting unwanted attention since he can, if in the mood, literally paint things into being. Before long, Brian vanishes, Mervyn is chased by a mob, and other complications mount, all gathering into a literal and figurative storm–and a tidy ending that restores order and leaves Brian with a little extra sense of wonder.
Meilo So’s art is arresting, with splashes of color over thick black linework, if a bit busy; their boldly expressionistic quality nicely echoes a comic vow made by the village’s non-magical artists in the story: ““Paint something like it is? Never!” Often small selections from an illustration appear in the text itself, offering a chance to contemplate the rich theme of what it means to live with art that’s “even better than real.”
Takeaway: A comic fable in which a painter stuns a magical village with works too good to be true.
Great for fans of: Etgar Keret, Mary Mackey.
Production grades
Cover: A
Design and typography: A
Illustrations: A-
Editing: B+
Marketing copy: A
The portrait that emerges over these clear, inviting poems is of a man dedicated to creating a better world than the one he had to endure. Griffin draws powerful connections between everyday life and the brutality of history in poems like “Cooking,” in which the “fine perfection” and “rich flavor” of food that draws on family legacy is the root of deeper truths: “From enslaved African to Choctaw ancestry, / Soul food has danced alongside genealogy,” he writes, noting that “Flames of hate boiled the roux of miscegenation.” “Cooking” concludes, though, in a celebration of ancestry, of the sense of handed-down recipes guiding him now, and of how act of preparing and sharing food links past and present.
The nourishment of connection also proves a recurring theme, often suggesting a balm for cruelty and prejudice. (The “wound” of the title is living, after all.) “Poetic Love” imagines “a garden that nourishes two as one,” just as “A Hug” contemplates a moment of “brief, beautiful, and fleeting” connection from a stranger. “So please just hold me as I am, a second longer,” Griffin writes, in a late poem that could serve as a capstone for this accessible, emotionally direct collection that should resonate with any reader of personal yet highly relatable free verse.
Takeaway: Accessible, emotionally direct poems centered on the urgent power of human connection.
Great for fans of: Rickey Laurentiis, Danez Smith.
Production grades
Cover: A-
Design and typography: A-
Illustrations: N/A
Editing: A
Marketing copy: A
History buffs will appreciate Martin’s vivid accounts of notorious American antiheroes like John Brown, Jesse James, and William Quantrill. Poetic detail breathes life into the skirmishes: “Three men on horseback trailed bolts of calico behind them in a cascading stream of color as they raced through the main street.” As a character, Jabez’s role is to bear witness to violence, and save for his moral indecision he’s not especially compelling, especially as shifts in viewpoints over a half-dozen characters distance us from his plight. Nonetheless, these multiple perspectives and strong period dialogue paint a thorough picture of the secessionist struggle.
What this book does best is expose the depraved tactics of fighters on both the Union and Confederate sides: Bushwhackers dressed in Union uniforms earn a farmer’s trust before murdering him; men take part in revenge-driven ambushes; hostage-taking is rampant, and more. The Bushwhackers’ pro-Union counterparts, the antislavery Jayhawkers, may be on the right side of history but prove no more pure. Jabez’s story of being captive among sociopaths in a bloody war of attrition stirs sympathy for all involved, both victims and indoctrinated perpetrators. American history fiction fans will value Martin’s transporting look at an era of terror.
Takeaway: A vivid dramatization of the turbulent “Bleeding Kansas” period of American strife that will fascinate history buffs.
Great for fans of: Daniel Woodrell’s Ride with the Devil, Jim R. Woolard’s When the Missouri Ran Red.
Production grades
Cover: N/A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
This time, Wycliff proves a somewhat passive protagonist. His scrupulous honesty makes him a perfect mark for Shackleton, who uses Wycliff to aid his congressional campaign, even getting the renowned preacher to baptize him for a secret viral video. Shackleton builds a superchurch for Wycliff, funds Loretta's recovery, and even expands the preacher’s reach into television, all for mysterious reasons. Wycliff, meanwhile, knows that “plagues come in sevens” and faces losing everything he cares about, as he struggles with the ethics of taking money from someone he knows is unworthy, especially when others are depending on that money.
Contemplative, character-rich, and written with insight and power, Preacher Raises the Dead edges toward literary fiction, meditating on belief, consciousness, and guilt, while attentive to the lived-in detail of small-town life. The story’s first half largely deals with the emotional fall-out of the previous book, meaning its nuances and emotional impact will most resonate with readers already familiar with the series, though Wycliff's moral rigor and unflagging humanity made for an unusual and engaging hero, especially as he rebuilds in the climax.
Takeaway: This cerebral, philosophical mystery focuses on hard choices made by complex characters.
Great for fans of: Julia Spencer-Fleming’s In the Bleak Midwinter, Brad Reynolds’s Cruel Sanctuary.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

Enter Hunt’s lteam of scrappy survivors, not the best of the best, or even the best of what’s left. Instead, as the squire Aveline thinks, they’re “all that was left.” From the jump, the stakes feel desperately high in this standalone, set in the world of Hunt’s Dynamicist Trilogy, and the pacing is swift for a complex and vividly detailed epic fantasy. Last Worst Hope has the urgent energy of the final book in a trilogy, as uneasy allies must face their doubt and trauma, and learn to trust each other and themselves, all while Hell (literally) breaks loose.
Last Worst Hope reads well on its own, though it’s steeped in lore Hunt established in earlier books. This time, he proves adept at bringing readers up to speed on his world’s magic, factions, and history; his scenes of politicking and tactical deliberation prove as engaging as the faceoffs with demons. What makes this story stand out, though, is Hunt’s memorable character work, as desperate rookies like Val, a commander new to commanding, or Mick, a dog-loving old salt who just might have the makings of a knight, must dig deep and step up—and possibly wield a blade “made of promises and hope.”
Takeaway: A superior epic fantasy, driven by strong characterization and a sense of utter desperation.
Great for fans of: Brandon Sanderson, John Gwynne.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A

Drawing on profiles of businesses, plus Kurkowski’s own experience and research, this business-owner's playbook emphasizes how to maintain productivity while employees work from home without face-to-face in-office interaction and guidance. While he offers a clear-eyed look at controversies like the distinction between monitoring employees and surveillance, Kurkowski focuses on the possibilities and opportunities the shift can represent, suggesting that many businesses fall into routine, and that this change means, in some instances, letting go of the need to micromanage as well as an opportunity to update and innovate practices and technology.
While Remote Work Technology is a great tool to aid businesses open to changes in structure and systems, it’s also rich with advice for employees making the work-from-home, especially on pressing topics like staying productive (“regular and scheduled work hours … [allow]for better segregation of the responsibilities of work and home”), eliminating distractions, and organizing their time while at home. With encouragement and clarity, this book helps business owners and employees navigate this new norm.
Takeaway: A comprehensive guide for business owners and employees faced with the transition to remote work.
Great for fans of: Peter Cappelli’s The Future of the Office, Darryl W. Lyons’s Small Business, Big Pressure.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Woodman tends toward free verse, but each selection is as unique as the different works being explored. She approaches each with appreciation and compassion, such as her personification of Rothko’s Untitled, 1955, angry that it should remain nameless as that is no way to treat a friend— “ochre-brown, black mouth screaming.// The shout so loud, it blurs the lips,/ a forehead turns dark red in fury.” Woodman’s tone is often bittersweet or tinged with sadness while she illuminates the fleeting nature of some of her subjects, lamenting that not even seemingly sacred statues are immune to change in “Too Young To Understand”: “He’s condemned to storage/ Weakened in isolation/Bronze shoulders worn by touches/ Messages lost in his lungs.”
Woodman often weaves complex metaphors throughout the poems, though at times they edge into the complicated, making it a challenge to untangle them. Despite some meandering, she concocts vivid stories that invite readers into each piece and its history and impact, even bringing to life women inspired by ancient cave paintings. Though the imagery can be reductive—Chagall’s Paris through the Windows is boiled down to “swaths of vermilion, streaks of royal blue, icy white shafts”—this collection is full of memorable symbolism, thought-provoking insight, and deep engagement with the power of art.
Takeaway: A heartfelt exploration of great works of art that imparts a new layer to each storied work.
Great for fans of: Paisley Rekdal’s When It Is Over It Will Be Over, Sarah L. Thomson’s Imagine a Place.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: A

The highlight of this enchanting book is Ana-Maria Cosma’s dreamy watercolor illustrations. The colorful, soft-edged pictures show girls from a variety of countries and the trees they love: a lombi tree in the Republic of Congo, a banyan tree in India, an acacia tree in Australia, and a redwood in the United States. The smiling, culturally diverse characters are depicted lounging on branches, planting seedlings, and running and playing together, and the whimsical pictures seem to exist in the fuzzy space just between imagination and reality. Younger readers will be amused by the playful details–like the frolicsome squirrel making an appearance on several pages.
Waage, an environmental scientist, demonstrates her love for the natural world in spare, impactful prose. This quick, delightful read will pique the same curiosity in kids and adults, offering many opportunities to ask questions and do further research on different trees and the countries where they thrive. With its enduring message and exquisite illustrations, this story will help young readers understand the many ways trees protect us–and why we need to help protect them.
Takeaway: Waage’s tender, gorgeous picture book celebrates our vital relationship with trees through the eyes of young girls from around the world.
Great for fans of: Lola M. Schaefer’s Because of an Acorn, Peter Brown’s The Curious Garden.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Shannon delivers a mystery-thriller that’s gory and scary but suitable for teens, focused at heart on two individuals experiencing––for all they know––the end of everything. Shannon presents the story in two timelines, allowing readers to track Grace’s character before and after the monsters appear. The main characters feel well-thought out and full, and the dialogue is often strong. However, the side characters, usually villains, lack depth and tend to end up dead quickly.
The choice to call the zombie-like humans “savages”––which Grace notes is not “politically correct” before concluding “there is no other way to describe them”––will prove unacceptable to some readers and demonstrates a missed opportunity to imagine something more fresh. Those creatures ultimately don’t prove crucial to the overall plot, which turns instead on secret military experiments, the conscience of Grace’s own father, and a hopeful revelation when past and present twine together. But what lingers are the scenes of wilderness and apocalypse survival, the relationship with Nick, and the terror of not knowing how bad it all will get.
Takeaway: A YA apocalypse with monsters, romance, military secrets, and the horror and adventure of surviving.
Great for fans of: P. A. Glaspy’s When the Power is Gone, Emma H. Frost’s Into the Dark.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: B
Strong Connections unfolds as Wang’s journey of discovery, from the “light-bulb moment” in a game preserve when a Maasai man pulled a cell phone from his traditional clothing, to becoming the global director of digital financial services for Opportunity International, a Christian ecumenical nonprofit. She details trips to Ghana, Kenya, Malawi and Tanzania, as well as several rural states in India, during a period when mobile phone usage had reached even far off-the-grid rural communities. How could global connectivity be tapped to help women living with both economic hardship and gender discrimination? Wang’s brand of advocacy is clear-eyed and action-oriented, chipping away at entrenched, exclusionary systems with financial solutions that address both individual needs and the greater good.
Tech and business readers will gain insights into client-based principles of problem-solving, and readers looking for a meaningful career change will find inspiration in Wang’s challenging and rewarding shift to microfinance. Her descriptions of growing up in Meridian, Mississippi, as the child of Taiwanese immigrants could be the basis of an intriguing follow-up memoir, which could further illuminate Wang’s paradoxical sensibility, equal parts tough resolve and active kindness. Strong Connections adds the warmth of humanity to the cold calculations of technology, and champions the intrinsic value of women helping other women with equanimity, compassion and respect.
Takeaway: Both an inspiring personal journey and history of financial innovation and bolstering the autonomy of women around the world.
Great for fans of: Mary Ellen Iskenderian’s There’s Nothing Micro About a Billion Women, Alana Karen’s The Adventures of Women in Tech, and Malene Rix’s Negotiating with Yourself.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: B
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