
But Isabelle’s not the only ghost in town. As Ash conjures creepy scenes of flies and thunderstorms with an emotionally resonant edge, the couple must also contend with an unidentified malevolent spirit who is equally as determined to keep the truth from coming to light. And neither Ash nor that ghost are playing around, as the couple faces scares, shocks, and even injuries as Nora gets closer to the truth, an especially frightening situation once she discovers she’s pregnant. “I kept a few test kits on hand since Dex and I weren’t not trying,” Nora announces in narration, the line offhandedly suggesting the depth and precision of Ash’s character work. Readers will root for this compelling protagonist’s unrelenting quest to find out the truth about Isabelle’s death and safeguard her family’s future.
Ash notes in her afterword that she grew up in a haunted house, and it may have been those experiences (in addition to her demonstrable writing talent) that allowed her to develop such realistic and nuanced paranormal elements. Ash expertly pulls readers through a fast-paced plot riddled with tense scenes, portents of the beyond, and tantalizing red herrings that will keep readers turning the pages quickly. This arresting paranormal thriller shouldn’t be missed.
Takeaway: This first-rate paranormal pits a couple versus ghosts in a small town.
Comparable Titles: Shawn McGuire’s Family Secrets, Lisa Stone’s The Cottage.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
“But who am I, really?” she continues, with a chiding tone, suggesting there’s something ridiculous in “Writing sonnets of fantasies about fleeting men.” But the last lines offer witty justification: “The vacancy of these pages / need their fix, too.” That’s funny but also revealing. It’s through the creation of art— through poems that dissect life’s messiness and disappointment—that this narrator finds relief, power, pleasure, actualization, and stability. Rose explores pleasures, too, in Frayed Edges, like morning coffee, the revivifying powers of Lucky Strikes, and the “wild and benevolent women” she relishes counting as friends.
But much of this inviting, accessible collection has at its heart Rose’s relationship with writing itself, as poems search for uncompromised truths about the isolation of an artist’s life: “Most importantly, / never trust yourself. / And trust only yourself.” A preface suggests that creating this work has helped the author navigate this world, and the verses throughout seem to capture a mind in playful, urgent self-definitional work that becomes both subject and purpose. “I’m just a dangerously cognizant girl / poeticizing her complaints,” Rose writes, and despite the occasional lumpy stanza she demonstrates the cognizance—plus savvy and self-knowledge and talent for surprise—to make those complaints sing.
Takeaway: Inspired poems of a romantic spirit pitted against New York in the era of content.
Comparable Titles: Kate Baer, Hannah Sullivan.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-

Polished, propulsive, and boasting intrigue at every turn, the story reads like a blockbuster cinematic adventure. Hassie and Carter are soon joined by Royce MacArthur, deputy of the Right for Scotland independence movement, who suspects the treasure, given by Spain to fund the Stuart clan’s supplantment of the British monarchy in Scotland, was moved in 1753 and given to John Paul Jones’ father. With Hassie’s knowledge of where she found the coins, Carter’s journal with cryptic clues to finding the elusive treasure, and Royce’s historical information, the trio must find the treasure before the deadly mercenaries chasing them do.
White propels the story through kidnappings, murder, cars being run off the road, the David’s Tower ruins of Edinburgh Castle, the golden relic of an Incan god, and a meeting with Nessie (a name that the creature hates, incidentally). The historical facts blend intuitively with iconic fantasy and amiable characters for a suspenseful adventure worthy of Harrison Ford or Nicolas Cage.
Takeaway: Action-packed treasure hunt with peril and warmth worthy of blockbusters.
Comparable Titles: Preston & Child, Brad Meltzer’s The Book of Lies.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
As the brothers embrace their journey, with Alan making a “sacrifice” of his wristwatch and eventually letting years pass, Martin digs deep into the tribe’s beliefs, practices, and history. Martin writes for an audience interested in wisdom and discovery rather than brisk plotting, but he offers strong scenic detail and a storyteller’s flair, even when devoting some fifty pages to the tribe’s origin story. (Martin makes clear that, while sharing some connection to the Ojibwe, Makwa’s tribe is an original invention.)
Among them, James encounters temptation in the beautiful Winona, who can see he yearns to kiss her but warns “I can’t betray my people.” She does, though, encourage him in a quest: to catch Maashkinoozag, the giant muskie fish his grandfather encountered. Martin finds tension and lessons for living throughout, though the novel’s protracted length, unhurried pace, and dreamlike atmosphere will appeal mostly to an audience of dedicated seekers. Garish digital illustrations generated with the aid of AI don’t add much, and their emphasis on lithe nude Native women will further limit the audience.
Takeaway: Searching, epic-length novel of a bereft Marine in a lost indigenous village.
Comparable Titles: Robert Owings’s Call of the Forbidden Way, Carlos Castaneda.
Production grades
Cover: B-
Design and typography: B
Illustrations: B-
Editing: A-
Marketing copy: A-
From the initial discovery of a lump in her right breast, James recounts in arresting detail how the diagnosis affected her personally as well as those in "the secret society"—the close friends and family members she chose to share the news with and include in her recovery. James also explores the ways she coped, both after hearing the diagnosis and during chemotherapy treatments, methods that included meditation to stop her negative thoughts and visualization of loved ones for strength—“Out of my love for them, I’ll find the courage to go on” she writes.
James makes it clear her suffering has a purpose—to mentor others, drawing on her experience as “a constant reminder that hope, much like joy, is contagious, and hope, in itself, is powerful.” That desire to help is palpable throughout, as James offers readers practical tools, including a “Healing Light Meditation” she created to aid her body’s recovery, as both an audio link and embedded in the text. "Even if I wanted to remain in my old life, there was no way I could. I had changed. The cancer had changed me, and there was no going back" James declares, and that resolve persists through the 247 days from diagnosis to ringing the bell on her last treatment. This will resonate with anyone affected by cancer.
Takeaway: A powerful anthem of hope and perseverance in the fight against cancer.
Comparable Titles: Natalie Holland’s Scarred but Smarter, John Marshall and Liza Marshall’s Off Our Chests.
Production grades
Cover: A
Design and typography: A
Illustrations: NA
Editing: A
Marketing copy: A

Nature is skillfully rendered in this beautiful story. Dee and Kaya Oldaker’s illustrations evoke the serenity and stillness that come with spending time in the natural world, whether that’s the fox resting in a twilight forest or the muted tones of sunlight slanting through the treetops. Humans are pictured first as indigenous hunter gatherers, but Dee goes through the progression from settlers in covered wagons to towns connected by roads to, eventually, the kiss of death for the forest’s inhabitants: once machines are invented “to move and do things faster,” the forest is whittled down to one lone bald cypress tree, starkly isolated by high rise buildings, robots, and spaceships. As the story’s most recent humans finally settle down to spend time with the tree, they reflect on the world’s changes that led to the trees’ near extinction.
Nature lovers of all ages will appreciate the book’s call to action. Dee closes with a plea for readers to plant new trees to change Earth’s current trajectory, as well as interesting facts about the bald cypress tree featured in the book. Careful readers will notice that once the trees are gone, humans must wear helmets to breathe, driving home the responsibility each reader has to save some of “the oldest living organisms on planet Earth.”
Takeaway: Beautiful call to action for young readers to save Earth’s trees.
Comparable Titles: Peter Wohlleben’s Can You Hear the Trees Talking?, Duncan Beedie’s The Lumberjack’s Beard.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
After seeking help from their nearest relative—a wealthy uncle who wants nothing to do with them—John and Wayne decide to embark on a pickpocketing career to survive. Unfortunately, their first victim is Jacques St. Germain, a mysterious, well-to-do aristocrat who turns the tables on the pair, offering them seemingly endless carnal pleasures in his mansion—as long as they agree to abide by his “house rules.” Bewitched by the decadence at their fingertips, and their endless days of hazy pleasure-seeking (thanks to a drink Jacques insists they imbibe that looks suspiciously like blood), both John and Wayne are soon caught in a web of trickery and enchantments.
Patten is a master at nightmarish buildup, strewing bits of history through the carnage that soon takes over John and Wayne’s lives. The New Orleans streets themselves seem to whisper of murder, vampires, and rippers—those evil, very human men who draw strength from drinking their victims’ blood—alongside a profound exploration of the line humans must cross to truly be considered monsters. Elements of romance and hope intertwine but, in true horror form, the story ends with a disturbing twist that will leave readers questioning everything they’ve read.
Takeaway: Dark and twisty tale of evil stalking New Orleans’s streets.
Comparable Titles: Ray Bradbury's Something Wicked This Way Comes, George R.R. Martin's Fevre Dream.
Production grades
Cover: A
Design and typography: A
Illustrations: NA
Editing: A-
Marketing copy: A

Druck shares the heartbreaking story of the loss of his daughter, Jenna, in the touching opening chapters, demonstrating firsthand understanding of what it takes to find a way to go on—and that we’re all “works in progress.” “When asked how I’m doing,” he writes, “I explain that I’m deeply grateful for the blessings in my life but that ‘I walk with a limp in my heart.’” Other powerful passages cover his work as a grief coach and consultant on the front lines of American tragedies, including attacks of September 11, Sandy Hook, and Columbine. Structured to reflect a chronological progression of a life, with advice and examples keyed to different ages and milestones, How We Go On explores how facing adversity changes as we age, from the “arrogance” and “blind optimism” of youth to developing the “learned skills” and “mature mindset” when “adjusting to the relationship challenges of adult life.”
With clear prose and helpful pointers, Druck explicates many of those skills, covering how to strengthen “your self-care muscles," determine when to leave a relationship, support someone experiencing grief, and much more.
Takeaway: Wise, resonant guide to moving on from life's tragic events.
Comparable Titles: Marisa Renee Lee’s Grief is Love, Bruce D. Perry’s What Happened to You?
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
The stages of the Reinvention Toolkit (all named “re”s, as in Review, Recover, Reawaken, and more) lay out a clear route to stepping forward, renewed and invigorated, at times when "we retract into our shells when life gets hard.” With a welcome focus on family and supportive relationships, positivity, hard work, self-reflection, and inner work, Radical Reinvention touches on both the personal and the career-oriented, and Lippe’s always frank that transformation takes work, but she is a warm, enthusiastic coach, offering guidance, motivation, and a story that resonates and reflects whatever obstacles readers may be facing.
The reinvention stories come from all walks of life, reporting the experiences of a war hero, a trans social media influencer, a domestic abuse survivor, and more. Above all else, Lippe puts a spotlight on the struggles that can seem to derail one's path and a flexible framework for setting a new course and emerging replenished and rebranded on the other side. This is a powerful and persuasive book about seizing the opportunity to adjust, adapt, and find success while being true to yourself.
Takeaway: Smart, practical guide to reinventing one's life in the face of loss and challenges.
Comparable Titles: Dorie Clark’s Reinventing You, Julia Moulden’s We are the New Radicals.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

And so this reluctant leader must face violence, refugee crises, secret meetings, uneasy alliances, threats to those he loves, rebels marching on Jerusalem, and situations so precarious that even Mary edges toward despair, saying “I cannot conceive of what has become of this city, so many seemingly gone mad.” But even in moments of great loss or after incidents of sometimes shocking violence Brouwer shines a hopeful light as his story fills in crucial lost years of the early church. Brouwer’s speculations are both compelling and plausible, and he deftly introduces a fractious Jerusalem and its conflicting factions.
That emphasis on millenia-old politics doesn’t slow down Brouwer’s warm, assured storytelling that offers crisp prose, engaging dialogue, welcome moments of levity, and a vivid sense of life in the desert, both in its harshness—“The sun, reaching its height, struck the rocks and the heat rose to a suffocating intensity”—and beauty, as “the green slopes of the Mount of Olives shimmered in the distance.” Lovers of biblical historical fiction will be transported.
Takeaway: The disciple John must strengthen the church in this engaging historical novel.
Comparable Titles: R.R. James’s The Baptist, Jay Parini’s The Damascus Road.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Markko was part of the Jesus People movement—“a unique dispensation of God’s grace telling the world, ‘I am still here. I still love you’”—and music scene as a performer with the All Saved Freak Band, and his intimate knowledge powers this history. His approach is celebratory, not digging deeply into conflicts or controversies, though Markko does history a service through his extensive interviews with participants in the band and others, including Turner, plus photos of the band and its orbit.
Agape was emblematic of the movement, which has often been overlooked in other histories of Christianity in twentieth century America, especially considering how Contemporary Christian Music morphed into worship music rather than evangelistic music. Markko recounts the band’s journey with the tenor of a storyteller spinning a yarn about the old days. He warns us not to expect historical precision, but his excitement about the movement of the Holy Spirit and the proclamation of the gospel is infectious. A reader interested in the history of Contemporary Christian Rock, or the Jesus People movement, will appreciate this lively retelling.
Takeaway: Spirited history of pioneers of Christian Rock and the Jesus People Movement.
Comparable Titles: Richard Bustraan’s The Jesus People Movement, Ed Zipp and Debbie Zipp’s First Love.
Production grades
Cover: B+
Design and typography: B+
Illustrations: A
Editing: B+
Marketing copy: A-
The title, Homo Novus, refers to an altogether different evolutionary leap, a new species of humanity that believers can join through connection with Jesus Christ. Welekwe draws on a lifetime of work in information technology to discuss issues like the “surveillance capitalism,” bioengineering, cybernetics, and the possibility of the Singularity, all as part of his exploration of bigger ideas, like the illusions of the view of history that humanity is on a path of ascendance. He warns, “Every new invention we pull off just widens the gap between us and the Garden of Eden—the Paradise of God.”
He builds to that argument by considering the relationship between humanity, technology, and God over millennia, often from a Biblical perspective. Christian readers may find his conclusions and explorations of theology persuasive, but in his arguments Welekwe takes faith as a given, offering little to convince readers who don’t already share convictions like this one: “I express this with caution—if faced with a choice between death and loyalty to Christ and His kingdom, one should be prepared to choose death.”
Takeaway: Impassioned treatise surveying humanity’s tech future but calling for a recommitment to God.
Comparable Titles: Jacob Shatzer’s Transhumanism and the Image of God, Craig M. Gay’s Modern Technology and the Human Future.
Production grades
Cover: B-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
This is where the book’s one-word title comes into play. Bobby shares with Milo that people can feel more than one thing at a time—for example, he can be excited and nervous at the same time. This realization frees Milo from trying to sort out his conflicting emotions, which he expresses in a relatable way: “When I tell myself to be excited, I feel scared again, which makes me mad all over.” As Bobby points out, kids aren’t typically taught that they can feel many things at once, so this vital lesson will give readers tools to sort through overwhelming situations in their own lives.
Hopkins’ illustrations use moody, muted hues that complement the subject matter. Many scenes show Milo and Bobby walking along a sidewalk, their confusion or frustration evident on their faces. Some of the most powerful images delve into the characters’ inner worlds—in one instance, Bobby sits dejectedly in a corner while the words “TOO BIG” hover above him, and in another the boys swing from tree limbs while a glowing ampersand bounces between them. The book finishes with activities to help young readers explore their own feelings, making this reassuring story an excellent social-emotional learning tool.
Takeaway: Illuminating story of a boy learning that he can feel many things at once.
Comparable Titles: Britney Winn Lee’s The Boy with Big, Big Feelings, Anna Llenas’s The Color Monster.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
“This is the joy and chaos of van life with cats, where the rhythms of the road meet the insistent demands of the domesticated,” Howard declares. Peppered with small nuggets of information, this brief guide delivers user-friendly information on creating a cat-friendly environment with litter box, proper food storage, and stimulating toys—he emphasizes the need for order and cleanliness when making a van a home, plus a harness and leash, first for the “delicate dance” of training, explained in six steps that encourage “paws-itive vibes,” and then for outdoor adventures.
This is a compassionate, frank, and direct resource to give prospective adventurers, especially those with cats, a jumping off point to think about and plan for nomadic van life, with clear advice about what it takes to keep cats safe, comfortable, and healthy, from items like emergency kits with frequently used medications, microchips, and trackers to that most pressing need every cat feels, whether on wheels or not: emotional support. Anecdotes about specific feline travelers, such as Howard’s Nicki and Nora Charles, named for Dashiell Hammett’s Thin Man sleuths, are especially charming.
Takeaway: Brief, informative guide for making a safe van-life environment for cats.
Comparable Titles: Cleveland Amory’s The Best Cat Ever, Christopher S. Wren’s The Cat Who Covered the World.
Production grades
Cover: A
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A

Their escapades lead to hilarious and often suspenseful confrontations with their school principal, detectives, a dead history teacher, thieving older boys, and of course their own parents and futures, as their impending graduation is as threatened as their lives. Pettijohn crafts a compelling narrative, with strong scenes and dialogue, that pits these well-drawn friends against real dangers and an array of eccentric characters, while exploring their camaraderie with that bittersweet edge of a time of transition—even without the thriller trappings, after senior year their lives will never be the same.
Pettijohn also captures, with wit and specificity, the cultural moment of Napster, Xanax, MySpace, and the Columbine shootings while finding pathos in the friends’ upbringings and expectations. This blend of sharp-elbowed nostalgia (including a paean to Fuddruckers), boisterous humor, sociocultural realism, and crime story is potent, as Pettijohn explores the underlying themes of friendship, community, youthful recklessness as these four edge toward something scarier than gangsters: adulthood.
Takeaway: Sharply funny story of high schoolers whose pranks pit them against the crime world.
Comparable Titles: T. Geronimo Johnson’s Welcome to Braggsville, Amelia Kahaney’s All the Best Liars
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-

Delicately penned details leading to a joyful, gleeful exploration of the Far East culture lay the foundation for a story that’s lush with life lessons presented in an engaging, light-hearted manner. Themes ranging from accountability to tolerance to maturity are brought to life in Pingzi. When she finds herself disobeying explicit instructions, even though she had the best of intentions, Pingzi is quick to admit fault, explain her actions, and accept the consequences. Her chosen-family relationship with Benzel is gently showcased, directly contrasting the lack of relationship she has with her mother and sisters, thanks to assigned gender roles and outdated cultural mores.
Pingzi’s occasional lapses into wise-beyond-her-years maturity may feel disingenuous to some readers. However, that’s far outweighed by the moments of gentle adult humor (particularly in the sweet exasperation of Benzel) and the book’s innocent, sensitive approach to growing up in difficult times. Readers will find themselves utterly captivated by the vividly drawn characters and lush setting.
Takeaway: Captivating mystery of dragons, demons, and Young Adult life lessons.
Comparable Titles: Darcie Little Badger’s Elatsoe, Cindy Lin’s The Twelve.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A