With her parents’ love and acceptance, Sugarcane overcomes the obstacles she faces to become the truest version of herself–the Midnight Robber, who “learned to steal deh hearts of millions, one verse and rhyme at a time.” This includes facing the relatable challenge of bullies. “I’m rough and tough like leather, and dresses ain’t never been my ting,” Sugarcane says. “If bullies want to poke fun at dat, den brace for deh verbal arrows I go sling!” One of this book’s most interesting aspects is its Caribbean dialect, supplemented by a playful glossary, which makes reading it out loud an immersive and exciting cultural experience for kids.
Along with the text, O’Brien’s detailed, expressive illustrations show Sugarcane dancing, dressing in costumes, and playing on a beach with her family, which illuminate the text and will spark young readers’ imaginations. The costumes are especially fascinating, a visual feast of pirates, parasols, playing cards, and ballgowns, often rendered with just the right touch of spooky, whimsical flair. This lively book will also help children and their parents talk about the importance of self-expression and acceptance–and maybe even inspire the creation of a colorful costume or two.
Takeaway: A little girl’s journey to be true to herself amidst the lively backdrop of carnival season in Trinidad.
Great for fans of: Nadia L. Hohn’s Malaika’s Costume, Errol Lloyd’s Nini At Carnival.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: B+
Marketing copy: B
The overall tone is decidedly casual and informal, best suited for middle grade readers who are naturally curious, already interested in bugs, or don’t mind an argument for the better treatment of insects that’s more rooted in feeling than science. Readers looking for hard data and evidence about insect emotion won’t find much, and Lori-Michele notes that none of the entomologists she contacted were interested in these insects’ lives or personalities. That means the book reads more like an impassioned diary than a persuasive argument text, and it lacks that crucial element of any science book, especially intended for younger readers, the citation of further, reliable resources.
Still, Lori-Michele brings abundant enthusiasm and passion for her topic, and it’s clear that she cares deeply for her insect pets and believes they have the ability to provide companionship for kids, older adults, and others. The approachable tone and care that went into each chapter makes it a compelling read for insect-loving kids.
Takeaway: Young insect lovers looking for a casual but passionate defense of the value of bugs—as beings and as friends—will find company here
Great for fans of: Anne Sverdrup-Thygeson’s Buzz, Sting, Bite: Why We Need Insects, Owen Davey’s Bonkers About Beetles.
Production grades
Cover: B
Design and typography: B
Illustrations: N/A
Editing: B
Marketing copy: A

Instead, she guides parents in shifting their mindset to incorporate math into everyday interactions with their children. Even the most math averse parent can handle Smith’s tasks—and indeed, she believes that perhaps those math averse parents are the ones who need to foster math skills in their child the most, so that the “maths anxiety” cycle can be broken. Smith’s activities are simple: singing nursery rhymes, counting food as you eat it, and naming shapes and objects as a baby looks at them. The sly genius of this work is teaching parents to incrementally change the way they think about math and its presence in their children’s world, a technique that Smith connects to studies that reveal the complexity and capability of the infant brain. Smith’s writing will convince even many of those reluctant parents who were themselves not encouraged to engage with math while growing up.
Though structured as a day-by-day handbook, 100 Ways in 100 Days can also simply be skimmed for catchy ideas, used as a refresher for those looking to enrich play with their children, or be read in one sitting to select only those tools that seem the easiest to apply. With an encouraging tone, well-described suggestions, and a fresh outlook on infant development, 100 Ways in 100 Days is a welcome read for anyone caring for infants.
Takeaway: Simple activities drawn from research on babies’ brains make this a great read for parents and caregivers.
Great for fans of: Daniel J Siegel and Tina Payne Bryson’s The Whole-Brain Child Workbook, Tara Greaney’s Montessori at Home.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
She zeroes in on fascinating ancestors like James Woodside, who moved from Ireland to America and fought in the French and Indian War, taking part in battles against Native Americans. Again and again, Sherman faces the complex humanity of her forebears, some of them public figures: Simon Sallade left a long public record, not all of it savory, while Irish immigrant George McEliece, possibly an embezzler, faced great anti-Catholic sentiment. His son John fought in the Civil War for the Union but later employed children in deadly mine work. She closes the book with a look at her grandfather, a beloved and respected physician.
The original research and the book’s confrontation with the American past are invaluable. Still, what Sherman has crafted here is not quite a family record and not quite a work of general-interest history, either. Often, when she zeroes in on her family, the effect is like reading through someone else's genealogy: interesting up to a point, but still the details of someone else's life. Her reckoning with the history she turns up, while pained and engaging, gets overpowered by the accumulation of charts, diagrams, and other ephemera.
Takeaway: A confrontation with American history and one family’s rise, as revealed in original research and admirable frankness about the past.
Great for fans of: Eliza Griswold’s Amity and Prosperity, Jill Lepore’s These Truths.
Production grades
Cover: B
Design and typography: A
Illustrations: A
Editing: B
Marketing copy: A
Readers will appreciate the fresh perspective of German immigrants settling in Texas in the early 1870s, as Willis deftly describes life in the Lone Star State during the Reconstructionist years. Lena is particularly likable, as a woman who wants to be viewed as attractive and feminine, but is still perfectly comfortable doing hard work. The story is period accurate, taking readers along for the adventures, risks, and still-wild freedom of Texas in the mid-to-late nineteenth century. Already, the settlers speak with reverence for the story of the Alamo three decades earlier; persuasive regionalisms (“the Newnited States”) color their dialogue.
As their love deepens, Christian and Lena must consider whether they’re ready to get married and start a family and whether they’re willing to leave Richmond, where they’ve begun to put down roots. The character development at times is thin, offering limited insight into their feelings as they face the greatest changes and decisions they will in their lives. Texas Quest occasionally strays away from the main storyline to address the larger history. It will appeal to readers fascinated by Texas and the 19th century immigrant experience, which Willis dramatizes with passion and convincing detail.
Takeaway: Texas Quest is perfect for readers fascinated by the challenges immigrants faced coming to rural Texas in the late 19th century
Great for fans of: Paulette Jiles, Laura Ingalls Wilder, Téa Obreht’s Inland.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: B+
With a direct and inviting style, Perconte centers most of these lessons and advice around the idea of running a marathon, contending that by approaching it—or any big dream—a step at a time instead of looking at the finish line creates a constant sense of achievement that makes grand goals seem attainable. He urges readers to celebrate all the little wins along the way, a crucial step in adopting the mindset of a winner, though he’s always frank about acknowledging that nothing worth having comes easy or without hard work and dedication.
While ideal for athletes, Pereconte’s advice can be applied to many aspects of life, but that doesn’t mean it’s overgeneralized. He addresses issues like keeping motivated in one’s “dog days,” “weathering” through bad “playing conditions,” how to bring your best on “game day” and more, inviting readers to adopt the habits of mind of a pro athlete. Readers will close the pages with a renewed sense of direction and encouragement to tackle their dreams and change their outlook and mindset.
Takeaway: A rallying self-help guide to adjusting your mindset and besting yourself each day.
Great for fans of: Marie Forleo’s Everything is Figure Outable, Jim Afremow’s The Champion’s Mind.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Despite the horror elements, Johansen’s mode and form is the police procedural, personal division, as both of his detectives emerge as compelling, complete characters with distinct motivations. Divorcee John’s love for his daughter powers much of the novel’s suspense, and his amusing distaste for all things New York sets up an engaging, often comic partner relationship: “John rationalized that the pollution and noise had destroyed the brain cells of every citizen who lived in that acrimonious city,” Johansen writes. Still, he’s a warm, community-minded guy who teaches self-defense classes at the YWCA. Victor, of course, has a New York cop’s sharp tongue, but as the case goes and the partners become closer, John begins to suspect something may be off with him, a tension that Johansen adeptly mines.
The mix of down-to-earth procedural and the (apparently) supernatural may not be to all readers’ tastes, and the story runs long, but Johansen mostly hits the marks of both genres: here’s vivid crime scenes, interrogations, and autopsies; dustups with the department brass; and an uneasy but potent partnership all set against a convincingly detailed Atlanta. Add two cops haunted by their pasts—and quite possibly haunted for real, in the present—and you have a thriller likely to please crime and horror buffs alike.
Takeaway: In this epic procedural, an Atlanta cop faces a new Brooklyn partner, baffling murders, and possible demonic possession.
Great for fans of: John Connolly, Mary SanGiovanni.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Ryan and Amy are sympathetic characters whose grief makes them relatable, and their tender, supportive relationship is the story’s heart. Still, Parker does not shy away from highlighting the ways trauma and loss can change a person’s personality for the worse. Parker also proves adept at crafting a moody, possibly haunted milieu, as his leads live among vicious winter storms, miles of forlorn farmland, and of course the lonely lighthouse, on its “outcrop of jagged rocks,” to which Ryan and Amy find themselves drawn.
Several exciting revelations come at the novel’s end, but the beginning and the middle of the story by comparison at times lacks momentum. Some subplots are dropped or not fully realized, such as Amy’s father’s detective work. The Lighthouse is not a full-fledged fantasy, yet does contain magical and spiritual elements, which can be tricky to balance. For some readers, there may not be enough magic, and for others, there might be too much. Still, readers who follow its mysterious light will be rewarded with intriguing twists and lovable characters.
Takeaway: A mysterious lighthouse, compelling surprises, and a meditative look at moving through grief.
Great for fans of: Erin Morgenstern’s The Starless Sea, Erin A Craig’s House of Salt and Sorrows.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: B
If each entry stands as an ode to art (or children or nature) as “a source of truth,” then in these brief, poetic compositions Pandit makes appropriately definitive statements: “In all the vanity and wickedness that this world has, we witness something pure and exceptional… one that is handed down to a woman by none other than nature herself… —motherhood.” However, subjects and phrasing recur to such a degree in these vignettes or codas—Pandit’s form is singular enough that no single established term captures these rich entries—that some readers will find them redundant, especially if they read straight through rather than occasionally dip into Pandit’s stream of thought.
Whether read in short or long doses, though, the writing is rhythmic, melodic, lyrical: “poetry mends the rift, while music bridges the gulf,” Pandit notes, drawing on both. Sometimes, Pandit addresses an audience directly—“I walk. I walk a lot… I walk so I can write; I write because I have something to say…”—and in doing so gains the investment of thoughtful, patient readers invested in style and ideas. Upon reaching the end, any lingering doubts of the literary ambition of this work will have retreated.
Takeaway: In distinct style, Impressions considers the small yet profound daily experiences many of us tend to dismiss.
Great for fans of: Cleo Wade’s Where To Begin, Alexandra Elle’s After the Rain.
Production grades
Cover: A-
Design and typography: A+
Illustrations: N/A
Editing: A
Marketing copy: A
Charles and detective Gonzales, a cop trying to figure it all out, are the kind of standout characters series readers look forward to meeting again in book after book, and several others feel like they could be that, too, with clearer roles and more substantial development. This time, though, some of the cast don’t exhibit much individuality outside their story function as suspects or red herrings, which contributes to the feeling that the final revelations aren’t all that surprising.
The hook of this series—an ex-lawyer’s easy life upended by fallout from the work he did—remains compelling. Lively draws readers in with effective scene setting: a dark, tense walk when Charles is expecting to be attacked, and sequences in which characters are followed or worrying about who’s going to turn up. Less intense set pieces also have welcome detail and energy, such as the goings on at the art studio and, especially, an art gallery in full party mode. Lively’s frequent attention to wine will be fun for connoisseurs—and a distraction for non-oenophiles.
Takeaway: Mystery again comes for a retired lawyer in this sequel that will please art and wine connoisseurs.
Great for fans of: Vinnie Hansen’s Art, Wine & Bullets, Hailey Lind’s Feint of Art.
Production grades
Cover: B
Design and typography: B
Illustrations: N/A
Editing: B
Marketing copy: B
Baker deftly delivers the overarching message—that anger fuels poor choices—without sounding preachy, a balance that middle schoolers will appreciate. The snappy dialogue will tickle the funny bones of both adults and kids, especially the chatter between dog and boy. Rex’s advice on controlling anger: “Try taking deep breaths and counting to ten. That’s what I do to keep from biting you when you take forever to walk me.” Elsewhere, CJ laments, “If my Mom and Dad found out I destroyed the Lincoln Memorial AND the Jefferson Memorial, I will be grounded until I am 35.”
Charming full-color graphics from Pratyush and Rituparna Chatterjee perfectly complement the tale, drawing readers into the short but impactful story– which strikes a nice balance between the real world, with angry mothers and principals and childhood fights, and fantasy elements like talking dogs, fireballs, and giant household objects. Kids will happily consider the importance of staying calm while reading and rereading this appealing offering.
Takeaway: This middle grade graphic novel’s message about reining in anger will please superhero-minded readers of all ages.
Great for fans of: Frank Cottrell Boyce’s the Astounding Broccoli Boy, Dav Pilkey’s Dog Man.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A

The third book in a trilogy on twentieth century war weapons (after The Neutron's Long Shadow and Weapons of Mass Destruction), Triumph and Tragedy lays out a clear, compelling history of the development of war technology, with welcome attention paid to the political, economic, and cultural currents powering a series of international arms races before, during, and after the World Wars. Miller appreciates that war machines aren’t produced in a vacuum, and his attention to sneaky business like the self-serving relationship between Bethlehem Steel and the secretary of the U.S. Navy during the Cleveland administration is welcome and clarifying, as is his depiction of the deployment of these weapons by often reckless actors working from perceived national interests.
Miller supplements this rich material with accounts of the changing nature of war, often with telling quotes from the people who lived and died in the shadows of these machines. The star, though, is Miller’s photography, plus a host of well-selected archival images and documents. He offers a succession of marvelous photos, often beautiful and barbarous at once, the killing machines looming and unmanned, the gray bolts, treads and gun barrels mute testament to our ingenuity–and appetite for power
Takeaway: This beautiful, outraged photographic survey of twentieth century war machines will dazzle and challenge fans of military history.
Great for fans of: Weapons & Warfare of the 20th Century, David Edgerton’s Britain's War Machine.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Gregory’s relationships with her family members are central to her story, and she doesn’t shy away from their complexities, addressing flaws and imperfections with sensitivity and nuance. Her mother’s ADHD and paranoid schizophrenia constantly exacerbate the family’s pain and the struggle of scraping by, though Gregory portrays her with a balance of unvarnished honesty and deep compassion and love. She also turns that candor on herself, examining her brief adolescent drug use, her unusual marriage, and her time in therapy. Always infusing these past experiences with incisive present-day commentary, Gregory lays bare the everyday humanity of complex choices—and mistakes.
Gregory’s strong narrative voice—one chapter opens “When I was still on speed, hanging out in the living room with other degenerates on an all-nighter at my dealer’s house, I pulled out a postcard”—is enhanced by strong dialogue and a facility for capturing striking sights, smells, tastes, and sounds of her past, though at times an abundance of detail slows the storytelling. The specificity, though, conveys a strong sense of time and place as Gregory offers fascinating insight into the HIV/AIDs crisis, civil unrest in Los Angeles, and grunge-era teen malaise. Despite the extraordinary and often heartbreaking challenges that Gregory has faced, her sincerity, realism, and determination will inspire readers of all backgrounds.
Takeaway: Readers interested in mental health and coming of age in the late 20th century will appreciate this moving story of resilience and healing.
Great for fans of: Dorothy Allison’s Bastard Out of Carolina, Jeannette Walls’s The Glass Castle, Tara Westover’s Educated.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

This family tree can be challenging to track, but ter Hart’s conversational style incites readers in and transports them into the center of her family’s experiences. Her stories of “Tante Mina,” an aunt who survived multiple concentration camps after her husband turned her over to the Nazis, is spellbinding, as is the family secret that her grandfather, Giovanni Vittali, hid a fortune’s worth of valuables for Jewish friends and family through his construction company. Equally moving are ter Hart’s personal photographs, such as a reproduction of her grandmother’s star of David and a snapshot of seven-year-old Maurits, a relative who was killed at Sobibor. Throughout the account, ter Hart returns to the family’s tendency to have twins, the genealogical thread that spurred her interest in uncovering her family’s background.
While ter Hart never shies away from shocking details (at Auschwitz she notes the “still visible claw marks of human fingernails on the walls of the gas chambers”), she highlights the silver lining of stumbling across her family’s confidences–including finally being able to connect with a distant relative who survived. She leaves readers with the gut-wrenching insight “[h]ow grievous that humans, generally, still seem unable to evolve beyond being the hunter, the hunted, or the watcher,” and anyone intrigued by family histories and uncompromising historical fiction will discover a narrative to remember.
Takeaway: An unforgettable odyssey of family, overflowing with devotion, grief, and resilience.
Great for fans of: Adiva Geffen’s Surviving the Forest, David Crow’s The Pale-Faced Lie.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: B
The narrative is fast-paced, and as a journalist who has spent 20 years covering the tech industry, Carr navigates this world with persuasive ease, his prose steeped in the local slang, jargon, and modes of thinking: “There’s no better way to understand Silicon Valley than to trace the path from feeder schools like Stanford through incubators like XXCubator, all the way to the Nasdaq,” he notes. Readers not steeped in the ins and outs of Silicon Valley may find it dense and occasionally inscrutable, and a circuitous plot at times adds to the challenge of keeping up with McCarthy. Others might not have the stomach for the novel’s frank descriptions of sexual assault.
Still, 1414º is an engaging read, with strong-willed female protagonists driving the plot and its action. With real-world news and events often serving as the building blocks, Carr creates a fictional world both similar to and scarier than the one we inhabit, all while putting his own spin on hot-button issues like the end of data privacy, the danger of online trolls, and, above all else, powerful men’s use and abuse of women. Silicon Valley aficionados, women in tech, and lovers of complex, fast-paced murder mysteries will enjoy this book, which reads as a potent critique of tech industry culture.
Takeaway:A fast-paced Silicon Valley murder mystery with a larger message of social justice.
Great for fans of: Adrian McCarthy’s Blue Screen of Death, Mark Coggins’s Vulture Capital.
Production grades
Cover: B+
Design and typography: B+
Illustrations: N/A
Editing: B+
Marketing copy: A
Zachary notes, in an inviting preface, that she hopes that reading this new version of the most familiar (and fought over) of tales will prove a “perspective-shifting experience” for readers. She acknowledges that there’s no record establishing the precise relationship between Yeshua and Maryam, but concludes they must have been close friends, together embodying the “necessary balance of sacred masculine and divine feminine energies.” That balance guides Zachary, who alternates between masculine and feminine pronouns for God and has Yeshua address disciple Shimon’s distaste for Maryam’s prominence among the disciples who “fish for people.”
Zachary sources most lines of her retelling in ancient texts, combining Christian beliefs with other traditions, emphasizing light, rebirth, and knowing the self as a route to healing. (An appendix spells out the subtitle’s “keys for resurrecting your life.”) A spiritual healer herself, she preserves the healing miracles, though her take on the loaves and fishes story suggests Yeshua as a good manager rather than a creator of food. She numbers the lines, offers copious explanations of familiar and unfamiliar terms, and places the words of God in blue text. Readers looking to blend Christian teachings with other spiritual traditions will find much to ponder.
Takeaway: A vivid, deeply researched retelling of key moments of the Gospels, woven through with elements of other spiritual traditions.
Great for fans of: Thomas Jefferson’s Jefferson Bible, Elaine Pagels’s The Gnostic Gospels.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
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