The format for this comic rebuke of tribalism and online discourse hinders the narrative and message. Writing in Tweets may suit short-form fiction pieces, but over the course of this longer work character development, dialogue, and emotional depth all become secondary to the form. Schreiber occasionally includes full dialogue scenes, accounts of spoken conversations between characters broken into traditional but Tweet-length paragraphs (“‘She’s not the same sex, Mom,’ Cindy shouted. ‘The idea of just two sexes is so yesterday’”), and it’s difficult to tell whether these are meant to be threads actually shared with the public or something more private.
The plot is entertaining and unusual. Although unlikable, Rumble’s an intriguing main character, a bombastic narcissist who descends into a hallucinatory panic. While some Trump-era satires can feel either too on-the-nose or too timid to match actual headlines, Schreiber elects to leave reality entirely, leaving behind current events while still managing to say something fresh. The Twitter President never feels boring or overdone, even as the denouement edges into the absurd. Readers looking for formally inventive satire will find pleasure in this quick, ambitious novel.
Takeaway: This satiric novel-by-Tweet marries political satire with absurdity and formal daring.
Great for fans of: Robert Sears’ The Beautiful Poetry of Donald Trump, Christopher Buckley’s Make Russia Great Again.
Production grades
Cover: A-
Design and typography: B+
Illustrations: N/A
Editing: B+
Marketing copy: A
The lighthearted storytelling still underscores the subject’s significance–“Without him we would not have won our Independency,” Jensen writes, rhyming with independency with liberty. However, the balance between historical authenticity, approachable language, and rhyme scheme fidelity can be precarious and sometimes gets lost. The text refers to Lafayette by multiple names (Gilbert, “the marquis”) which can be confusing given the plethora of characters, both British and French, featured in the story. Page layouts and the positioning of the period images often interrupts that most crucial element of rhymed, rhythmic storytelling: the flow.
This narrative is meant to be read aloud—and would be a valuable companion for classrooms and projects—showcasing its enjoyable blend of history and rhythm. Jensen proves scrupulous in keeping the text factual, digging into the political realities behind revolutionaries like George Washington embracing a French aristocrat, and her detailed end notes, offer concise explanations (“The French government feared having a ‘celebrity’ like Lafayette join the fight on the side of the Americans”) that will help alleviate any audience perplexity. Young history lovers and fans will savor this playful rendition of Lafayette’s biography, centered around historical documents and works of art.
Takeaway: Young history buffs will enjoy the rhyming text and historical art in this lively biography of the French hero of the American Revolution.
Great for fans of: Jean Fritz’s Why Not, Lafayette?, Selene Castrovilla’s Revolutionary Friends.
Production grades
Cover: A-
Design and typography: A-
Illustrations: A
Editing: A-
Marketing copy: A
Loving and Dying in Notchey Creek
Andrews’s extensive cast of quirky characters enhances this cozy mystery, and her quick, clear descriptions unobtrusively bring new readers up to speed about relationships and backstories. The host of likely suspects also lends intensity to the story, while the return of Harley’s crush– Eric Winston, an Ivy League medical pathologist who performs autopsies on the bodies and is, in Harley’s estimation, “out of her league economically, physically, professionally, and socially”– adds welcome sizzle to the lighthearted intrigue. Their longing looks and heated, memorable dialogue will offer strong incentive to readers to pick up the next installment.
The appealing characterization doesn’t end with Notchey Creek’s human residents. Andrews stirs laughs and warmth with her attention to pets, including Harley’s pig Matilda, all decked out for Valentine’s Day; Ozzy, a rescue dog with wheels powering his back legs; and Petie, the often insulting therapy parrot. In crisp, engaging prose, Harley’s methodical clue gathering finds the hero investigating her town’s love triangles and a blackmailing scheme, while Andrews keeps the pages turning with twisty plotting, clever red herrings, and local color as distinct as the recipes for whiskey cocktails that close out the book.
Takeaway: This lighthearted mystery in small town Tennessee blends an amateur sleuth, a splash of romance, and an appealing cast.
Great for fans of: Eve Calder, Maddie Day.
Production grades
Cover: B
Design and typography: A-
Illustrations: N/A
Editing: A
Marketing copy: A
Sanders emphasizes the concrete, offering exercises and activities to drive home his concepts, and focuses heavily on problem identification (“You need to be able to identify problems in order to come up with productive ideas”). He encourages the development of analytical techniques to differentiate between needs and wants, while urging readers to discover the root of the glitches in their lives. Your Next Big Idea covers some advice readers may already be familiar with–such as identifying your habits and learning the importance of asking “why”–but nudges toward deeper self discovery. Sanders advocates fresh approaches to creativity like attempting to combine multiple solutions instead of aiming for just one sensational idea,and he offers an original “feasibility check” to apply to new ideas.
Some readers may balk at his idea that “Your life is the only thing you can totally control,” but most will appreciate the back-to-basics approach of this motivating handbook. Entertaining illustrations and almost riddle-like exercises (such as a problem to solve involving a fox, a chicken, and some corn) keep things lighthearted while still nurturing creativity, while Sanders excels at technical suggestions and hands-on activities. Early entrepreneurs and those seeking personal encouragement will find this an enjoyable way to cultivate basic business sense and enrich their originality.
Takeaway: Prospective entrepreneurs and self-improvement seekers will find this a helpful, entertaining guide to generating ideas.
Great for fans of: Dan Heath’s Upstream, Erik Qualman’s The Focus Project.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: B
Things get complicated when the governments of Earth and Mars intercede, thanks in part to Aiden’s lover Skye Landen and her colleague, Elgin Woo. With the future of humanity riding on his discoveries, Aiden must uncover this new planet’s many secrets. Some readers will be distracted by Jeffrey’s verbosity and word-choice--in one scene, “tall, muscular clouds” create “a moody tapestry of dancing velvet light”--interruptions that inflate Aiden’s adventure to fifty long chapters. At other times these descriptions are where the novel shines: Each of the worlds Jeffrey depicts--the burning deserts of the Amazon Basin, the moon’s populous Luna colony, the lush and mysterious Silvanus--are so vividly detailed that sympathetic readers will feel transported.
Simultaneously a critique of twenty-first-century politics as well as a hopeful vision for the future, Through a Forest of Stars will capture readers’ imaginations thanks to its blend of classic science-fiction tropes, New Age elements, and compelling characters. SF series readers will be eager for the next installment.
Takeaway: Sci-fi fans won’t regret diving into the first volume of Jeffrey’s detailed, imaginative epic of humanity’s interstellar future.
Great for fans of: James S.A. Corey; Aer-ki Jyr’s Star Force series.
Production grades
Cover: A
Design and typography: A-
Illustrations: N/A
Editing: B+
Marketing copy: B-
One of the book’s highlights comes close to the end. As the text references different languages spoken by a wide variety of people, the pictures reflect that with representative translations of the word “hello.” The introduction of these diverse concepts and international flair offers an excellent educational opportunity regarding the expansion of horizons. Repetition of the title also helps to drive the message home. While the largely simple and straightforward vocabulary and easy style make for perfect bedtime reading, the unpredictable rhythm and unexpected cadence changes (“We come from different countries and places, have different faces, and represent all races, but all people are beautiful”) may trip readers up.
The inventive, dynamic illustrative techniques appeal throughout the book. There are points, however, where the images convey stereotypical representations (such as kids of the world dressed to represent their individual homelands) that may prove problematic for some audiences. Though simplistic, the theme will likely prove most appropriate for children at the higher end of the age range, given the slight complexity of certain concepts, including languages and cultural norms. Activities at the end of the book offer an additional avenue for young readers and their caregivers to interact and develop cultural appreciation and form the foundations of a lifelong appreciation of how differences deserve celebration.
Takeaway: A delightful, vibrant picture book that urges kids to embrace what makes us each unique.
Great for fans of: Alexandra Penfold’s All are Welcome, Jess Hong’s Lovely.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A
Snedeker offers evocative descriptions of Saudi Arabia, the Aramco neighborhood, and the cast of colorful expats populating the town. He examines his childhood with a measured hand, psychoanalyzing his relationship with his parents and assessing the ways his Saudi upbringing affects him as an adult. The prose is detailed; Snedeker proves expert at finding the interesting in the mundane. By focusing on the specifics of his upbringing (shooting straw wrappers at a diner ceiling, the acquisition of a new family blender, the setup of an alleyway kickball court), he presents a compelling vision of a bygone era, each anecdote alive with feeling.
Snedeker has lived in Saudi Arabia three separate times over the course of his life, though he primarily concentrates on his childhood years. This emphasis allows for a vivid and thorough depiction of that era, but it narrows the focus. Snedeker occasionally touches on intriguing cultural issues—such as the presence of servants in the Aramco camp, the changes in religious acceptance in Saudi Arabia, or post-9/11 relations—only to move quickly on. Still, as a snapshot of a particular moment in time, experienced through the eyes of a young American and also his engaging adult self, it’s a resounding success.
Takeaway: This detailed memoir, following a young American’s childhood in Saudi Arabia, is perfect for those interested in cross-cultural 1950s history.
Great for fans of: Tim Barger’s Arabian Son, Ahmed Abodehman’s The Belt.
Production grades
Cover: A
Design and typography: A-
Illustrations: A
Editing: B+
Marketing copy: A
The Dead Don't Drink at Lafitte's: Sam Quinn, book 2
Kelly’s continued development of characters and friendships from the previous book is a highlight, while the new friends introduced here, like the gorgon Stheno, bring abundant laughter. Meanwhile, perfectly vile new enemies will make readers’ skin crawl, especially the ancient vampire, St. Germain. Kelly’s vivid storytelling and immersive detail will draw readers into New Orleans, while her skill at capturing her cast’s hearts ensures that every emotion, injury, and struggle they face resonates.
The Sam Quinn series centers on a beautiful, loving relationship that strays from the trope of the tough vampire who saves an abused woman. In Kelly’s hands, the abused woman heals in her way, gaining her own strength, while the tough vampire is supportive only in the ways that she needs. Kelly has excelled at the difficult task of making this follow-up as exciting for new readers as it will be for those who enjoyed the first book. Both picking up where the story left off, and inviting readers to feel the essential core of each relationship, The Dead Don’t Drink at Lafitte’s offers precisely what readers look for in the second book of a series.
Takeaway: Urban fantasy fans looking for deep relationships, a strong female lead, and a great mystery will be quickly absorbed into Sam’s evolving adventure.
Great for fans of: Dannika Dark’s Keystone, Chloe Neill’s Wicked Hour.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A
In the first two sections, Johnson pens frenetic and even choppy lines, suggesting the anxiety of identifying an illness and figuring out a course of action. She personifies sickness and fatigue as antagonists barking orders at her: “Sit NOW! / Lay down NOW!” The poems in “Symptomatic” and “Treatments” contain minimal punctuation, pulling readers into the “lupus fog” right along with the poet. Many of these selections lament her uncomfortable situation, which can be taxing for empathetic readers, but Johnson always balances out the struggle with rousing affirmations of her own humanity and worth: “ME / This beautiful creation with thoughts of futures and dreams / ME / This creative woman who loves passionately.” In the last section, Johnson’s rediscovery of a zest for life shines through in her lush, longer lines, a standout being “Bloom”—“Reach out new / Hold tight bloom / Wind gust, take flight / Fingers of curls leading / Watching lemon cocktail purple flower / New growth driven in the thickness of summer.”
These poems bare her mind and heart. Johnson admits her fear of asking for help towards the beginning—”Don’t want to worry / Anyone including me”—but by sharing her experiences, and by emphasizing her humanity rather than her diagnosis, she offers welcome comfort.
Takeaway: Poetically minded readers will love Johnson’s lush, fearless verse about her life with lupus.
Great for fans of: Anne Sexton, James Strazza, Danez Smith.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
Rossman connects by eschewing privacy and formality. He unflinchingly exposes the brutal side of treatment, from being able to “feel the burn” in his taste buds and salivary glands to his almost full time use of a feeding tube, but fights the temptation to feel sorry for himself (“Jesus didn’t indulge in pity on Calvary”). He strikes a welcome balance between encouragement and reality, all while offering practical advice to help readers facing their own cancer battles ease their physical, mental, and emotional suffering–including an array of coping skills that gave him hope on the darkest days.
Rossman offers real nuggets of wisdom, such as employing “this week” as a refrain to stay in the present, and a sobering “[I] don’t think I’ve ever been surrounded by so much sickness and death” on his last day of chemotherapy. Readers whose lives are touched by cancer will appreciate the entertainment factor as much as the valuable lessons Rossman delivers in this direct, engaging chronicle.
Takeaway: A thoroughly detailed chronicle of throat cancer treatment balanced with touching positivity and candid humor.
Great for fans of: Lysa TerKeurst’s It’s Not Supposed To Be This Way, Chris Geiger’s The Cancer Survivors Club.
Production grades
Cover: C
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: C
Cranham writes movingly of the adopted son who flourished despite every grim prognosis. Powerful prose invites readers to meet a special needs child who has never wasted an opportunity to be grateful for the blessings he has, and, rather than dwelling on his physical and mental challenges, has taught his family—indeed, everyone he meets—about the power of gratitude. Sadly, the family—who are white—have also encountered prejudice for having adopted a Black child, but they strive to model Cornell’s grace and kindly reeducate the small minded.
At 25, Cornell started a search for his twin sister, culminating in an emotional reunion that will leave nary a dry eye among readers. Random word capitalization in several places distracts, but can’t mitigate the power of this narrative. Cornell’s optimism and bravery is a love letter to the resilience of the human spirit, as his father notes. “Cornell was put on this Earth to inspire people. I hope, after reading this, that he has the same effect on you,” Cranham writes. And he will, in this emotional tour de force suited to anyone who needs a little inspiration.
Takeaway: Readers of this father’s inspiring memoir of a foster son beating the odds will be counting their blessings through their tears.
Great for fans of: Marie Killilea’s Karen, Linda Atwell’s Loving Lindsey: Raising a Daughter with Special Needs, Martha N. Beck’s Expecting Adam: A True Story of Birth, Rebirth and Everyday Magic, Vicki Forman’s This Lovely Life.
Production grades
Cover: A+
Design and typography: B+
Illustrations: N/A
Editing: A-
Marketing copy: B+
Jiji’s (Sweet Dates in Basra) protagonist starts the novel as extremely self-involved: She walks out on a blind date because he’s bald, manipulates her way into both a publishing contract and a boyfriend, and secretly nurtures feelings of smug superiority toward her writing group. When a brutally honest editor tells her in no uncertain terms that her book is a mess and will be critically panned, it’s Laurel’s ego, not her conscience, that convinces her to ask for a release from the contract—and she still manages to spin it so that the publishers pay her for cancelling. On the flip side, as Laurel gets everything she’s ever wanted, she suddenly realizes that she doesn’t have a need for any of it, dumping the art critic in favor of the blind date she’d snubbed, breaking her book contract to become a celebrity gossip writer, and ditching Vanessa after realizing that she’s not Vanessa’s only “project.”
Romance readers will likely be frustrated with the novel’s structure and the focus on Laurel’s life and career—and the fact that she doesn’t interact with her ultimate love interest until halfway through the narrative. Chemistry between the characters is lacking, and Laurel’s ongoing exploitation of everyone around her proves unappealing and farfetched. Still, fans of lighthearted women’s fiction will enjoy the antics of this comically overconfident heroine.
Takeaway: This comic romance asks what happens when a deeply self-involved New York City woman finally gets a shot at having it all.
Great for fans of: Becky Monson’s The Accidental Text, Alina Jacobs’s In Her Candy Jar.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A
Yanks Behind the Lines: How the Commission for Relief in Belgium Saved Millions from Starvation During World War I
The story is full of drama that Miller sketches well, particularly tensions between the CRB and Comité National, and between Hoover and everyone else. In the initial rush of donations to Belgium, Hoover fought to ensure CRB was in control of relief. Miller’s dedication to facts rather than speculation means he leaves it to readers to wonder about how much of Hoover’s motivation in these disputes was humanitarian and how much was arrogance. (Miller quotes an expert who touts Hoover’s “ingenuity in persuading or bullying the various Powers” to get international actors to compromise.) The self-giving spirit of the CRB delegates, mostly young volunteers spread throughout Belgium, shines through Miller’s narrative, however, especially in the anecdote of a delegate arrested by German authorities under false pretenses.
Particularly helpful are period photographs and Miller’s statistical charts, helping readers stay oriented and personalizing the humanitarians who founded the first international nongovernmental organization. History buffs will be eager to learn the struggles of the Belgian and northern French during the war as well as the courage and fortitude of those who sacrificed to feed the desperate.
Takeaway: This compelling chronicle will grip history buffs while opening their eyes to a little known but vitally important humanitarian mission.
Great for fans of: John Keegan’s The First World War, Tom Scott-Smith’s On an Empty Stomach: Two Hundred Years of Hunger Relief.
Production grades
Cover: A
Design and typography: A
Illustrations: B
Editing: A
Marketing copy: A
The intricately detailed plot relies on a whirlwind mixture of historical facts and footnotes, both based in recorded texts and Consta’s own world-building. Slice-of-life snapshots of notable figures throughout history offers a tantalizing glimpse into what life may have been like, and Consta follows ideas from one era to another through devices like the diary of Apollodorus, a point-of-view character, later being read by Attila the Hun, who gets depicted converting to “the monotheistic God that unifies all humans on Earth.” While his passion for his subject is clear, Consta’s prose often edges toward the academic, offering recitations of details rather than a fully realized narrative, with side trips that rampage through various religious traditions.
More engaged with ideas than storytelling, the novel suffers from a lack of internal consistency and is crafted on a foundation of heavy chunks of information with little in the way of character development or realistic reactions to situations. The subtleties of politics are ignored in favor of literary expedience, and historical inaccuracies will pull readers out of the story. Readers of a technical bent with an eye for history and alternative theories regarding human origins may find this a fascinating, if dense, read.
Takeaway: This novel’s dense alternate take on human origins and spirituality favors fantastic history over storytelling.
Great for fans of: Barbara Frale’s The Templars: The Secret History Revealed, Robert Shea’s Illuminatus! Trilogy.
Production grades
Cover: A
Design and typography: A
Illustrations: B
Editing: C
Marketing copy: A
Holton has wisely labeled each haiku with its type, and the variety of approaches and subjects gives each page of two or three poems an easy flow. He heads each section with a photo that offers either a sense of the everyday nature of his life or of extraordinary events like racial justice protests. Additional photos could have added more of this flavor and broken up some longer sections more effectively.
With the haiku form’s requisite economy, the poetry reflects many engaging topics, like Hoton’s mixed religious ancestry and desire for ecumenical unity. He also gleefully expresses his love of food and drink as well as his gratitude for his city's communities. The haiku are just as likely to contemplate the coronavirus (Social distancing: / flowers six inches apart / but still in God's earth.”) as they are to refer directly to God (“God offers us love / when all we have is anger. / We can use both.”) or his beloved spouse (“A bewildered world. / But I can still kiss my wife, / so ... what's the problem?”). Holton's emotional openness gives his verse a warmth, wit, and spiritual appeal that a wide audience could enjoy.
Takeaway: Readers interested in clever and often moving haiku related to spirituality and everyday life will delight in this observational poetry.
Great for fans of: Daphne Washington's A Christian’s Book Of Haiku, Hosea Williams Jr.'s By A Prophet.
Production grades
Cover: B
Design and typography: B+
Illustrations: A
Editing: A
Marketing copy: B-
Readers who have not read the earlier installments in this series will find it difficult to fully understand the narrative. Lamar and Zuli’s backstory is never fully detailed, and despite references to the earlier books’ fantasy realms, mythical creatures, and magical gardens, traditional fantasy elements are only intermittently featured here. The story primarily takes place in the real world, although it touches upon the otherworldly, with a strong focus on Lamar and Zuli’s cosmic love (their relationship is part of something bigger than themselves).
The prose itself is poetic, with the richness and mystery of religious verse, and the novel brims with optimism, even in the most difficult of situations. Separated from the rest of her family and forced to disguise herself on the streets of Kabul, Zuli finds purpose working as a volunteer nurse, while Lamar is accepted by his local baker and begins working illegally as a teacher. The characters, who frequently quote Rumi and reference poetry and spirituality, are buoyed by their love of country, their love of each other, and their faith. These characters are too unflawed for realistic fiction, but The Unseen Path’s allegorical approach celebrates community, love, and spiritual living.
Takeaway: This poetic novel combining fantasy, history, and romance will please spiritual-minded readers and their soulmates.
Great for fans of: Kahlil Gibran’s The Prophet, Nadeem Aslam’s The Wasted Vigil.
Production grades
Cover: C
Design and typography: B
Illustrations: N/A
Editing: A-
Marketing copy: B+
