At the core of Brent’s argument is the conviction that the church of this material era has sunk into its “Laodicean” age, named for the “lukewarm” church referenced in the Revelation of John. “This Laodicean church does not know Love,” Brent thunders. “Love gets up close and personal and tends to one another’s infirmities.” In an introduction, he notes that believers in his own church failed to aid him in a time of hardship, but that “up close and personal” love is not just between believers. With persuasive power and impressive command of scripture, he insists the Laodicean church is “too concerned with programs, traditions, routines, and thought-processes of our own or of the world to allow the Lord Jesus to have his way in his church” and notes that believers rarely enter the “realm” of worship outside of church.
Believers will find little to gainsay in the broad sweep of Brent’s powerful screed, though the few concrete examples of ways that believers fail to know God are less persuasive. He singles out membership in Black Greek Letter Organizations or participating in Easter egg hunts as violations of the covenant between God and believers, but doesn’t dig deeply into the gravity of these infractions. Are they more disappointing to God than other secular activities? But on the general gulf between belief and commitment Brent’s voice is potent.
Takeaway: An impassioned cry for Christians to commit to knowing God at all times, not just on Sunday mornings.
Great for fans of:Mark Dever's What Is a Healthy Church?, Eric Mason’s Beat God to the Punch: How to Seize a Grace-Filled Life.
Production grades
Cover: C+
Design and typography: B
Illustrations: N/A
Editing: A-
Marketing copy: A-

Focusing on positive growth scenarios, each short chapter explores a key concept through accounts of everyday situations and interactions between the fictional island’s inhabitants, following their development over two centuries from a shared agricultural society to a post-industrial, service-based economy. Schreiber reiterates established economic principles, but offers detailed first-person observations and opinions at the end of each section that at times challenge the popular consensus. His explanations are concise and inviting: “Note that nominal in economics always means measured in terms of money, while real always means measured in terms of stuff.” Scattered throughout are easy-to-follow charts and graphs that Schreiber uses to smoothly illustrate economic concepts and trends.
Schreiber argues that macroeconomics “is in a bit of a crisis after the first two decades of the twenty-first century.” Although not an economic professional, Schreiber uses an outside perspective, historical data, and monetary theory to back up his assertions. In the final two sections he dives deep into current economic issues using hypothetical situations that mirror modern tax policy, interest rates, and economic stimulus packages. This guide delivers valuable economic information while delivering Schreiber’s message that money as we know it today is going out of style.
Takeaway: Using fiction for clarity, this guide to real-world economics will appeal to readers interested in alternative approaches to modern economic policy.
Great for fans of: Steven D. Levitt and Stephen J. Dubner’s Freakonomics, Charles Wheelan’s Naked Economics.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A
Duffin evokes a palpable sense of place in both the squalid life of the city’s poor and the opulence of the distracted elite. His dialog evinces Eddie’s street smarts and May’s Irish brogue, and he skillfully dramatizes May’s tangled life of crime. When things get too hot in New York, she convinces Eddie to run to Chicago with her, where after a bold diamond heist she declares herself “Chicago May.” Spurred by the 1920 vote for women’s suffrage, May realizes “more and more courageous women were making lives of their own, independent of both fathers, husbands or boyfriends.”
Duffin’s May comes across as less malicious than the historic figure who inspired her. Despite being a thief and a blackmailer, May proves endearing with her grit and drive, and fans of strong women protagonists and last-century crime stories will eagerly follow her adventures, which range from comic to thrilling to harrowing.
Takeaway: Readers will cheer on this Irish teenager who becomes a grifter queen in the roaring 1920s.
Great for fans of:Renee Rosen’s Dollface, Douglas Perry’s The Girls of Murder City.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Wicks invests great empathy and compelling detail in her portrait of a princeling who bristles at donning a crown. George stammers, bristles at his father and cousin’s ideas of strength, cocks up his bar exam, and consults for long dialogue scenes with a therapist who is eager to emphasize the story’s themes: “Are you feeling trapped in some notion of who someone has said you should be and you’ve been found wanting?” The Leibnitz milieu of globe-straddling wealth is persuasive and alluring, even as George considers bucking it. Still, as Wicks teases out a succession of secrets and betrayals and private-jet excursions, she keeps her focus on George and Marianne’s hearts.
The relationships among the ensemble cast are interesting, with family members scheming, sometimes cruelly, for power. Revelations, confrontations, and fractious meetings and soirees power the novel’s compelling back half, as a true villain emerges, but the set-up chapters tend to showcase characters talking about the themes and relationships rather than dramatize them. Still, fans of the fiction of dynasties will find much here that’s lively, surprising, and ultimately hopeful.
Takeaway: A young man dares to find himself and fall in love in the face of his scheming wealthy family.
Great for fans of: Cristina Alger’s The Darlings, Susan Rieger’s The Heirs.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
Papoucian’s memoir is an inspiring and quick read, with a linear timeline that allows readers to step into her world and seamlessly experience her life. The candid snapshots of young adulthood, parenthood, and middle age are captivating, and Papoucian’s disciplined choice to truncate large portions of her story and focus instead on love—her main theme—is remarkable. Although she touches on some extreme circumstances, including suicide and abuse, that could trigger certain readers, Papoucian is sensitive and avoids excessively graphic details.
Papoucian characterizes the most influential people in her life in a deeply personal way, allowing fans to glimpse her inner motivations. When her narrative in the current day, she summarizes what she has learned on her own journey and offers poignant life lessons for readers to inspire and motivate them in their own lives: “Everything that had happened to me was for me, and I gracefully accepted it as a gift and as my path to who I was meant to be.” Papoucian’s storytelling is charismatic and appealing. Readers will feel a kinship and be eager to know more about her travels, further healing, and her next steps in love.
Takeaway: A migrant’s encouraging story of finding life and love in the U.S.
Great for fans of: Glenn Dixon’s Juliet’s Answer, Allison Pataki’s Beauty in the Broken Places.
Production grades
Cover: B-
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: A-

Occasional inspired echoes (his “See the swan unfurl herself” brings to mind Elizabeth Bishop’s “a heron may undo his head”) will keep readers on their toes, and some inspired play casts new light on the familiar. The dazzling “Fisher of Men” finds fresh meaning in the phrase from Matthew 4:19, asking “After all, what are we?” before contemplating our essence in short, sculpted lines whose individual meanings coalesce into something grander: “Salt, wet, / departure, return, / repeated show / of quick, slow, / still, churning, /descending, ascent /”. The idea, slippery yet powerful, surges on from there, though it’s tempting to double back and revisit the earlier words with the later ones in mind.
Loftus’s work rewards but does not demand that kind of careful attention. He’s adept at evocative yet concrete detail (the “Skoal cans, and shorty Buds” of men out boating) and always imbues a concluding line or couplet with memorable insight, a savvy double meaning, or even a punchline. Autumn offers crisp, memorable verse, but also the opportunity to see what Loftus sees.
Takeaway: These inspired observational poems celebrate and exemplify precision and seeing.
Great for fans of: Ross Gay, Mary Oliver.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: B+
While the meat of the action stays firmly grounded in the novel’s near-future present, the timeline jumps into the past, touching on Darien’s memories of his early life and college years, with the main story only picking up its pace late in the book. Readers will be rewarded with explosive action scenes in the late chapters, though some may find anti-hero Darien challenging to connect with due to his arrogance and crass nature, while others will be engaged by his desire to become a better man. Nedeau delivers other challenging characters, such as Lawrence Enderby, who works security at MemorSingular and oozes toxic masculinity. Though these qualities match his brass personality and increase his villainy, his excessive demeaning comments toward women will alienate some readers.
The technology, though, will fascinate all who find memory harvest, transfer, and manipulation interesting sci-fi elements. The tech is explained in clear detail, so readers can quickly grasp the rules and possibilities of Darien’s world. At the heart of Nedeau’s thriller is a man whose loyalties are put to the test when he becomes wrapped up as a guinea pig in a secret experiment, centered around a deeply disturbing conspiracy. Those looking for a technology rich sci-fi experience will enjoy this mind-bending read.
Takeaway: A thought-provoking sci-fi mind-bender with unforgettable tech and fully loaded action.
Great for fans of: A.J. Steiger, Earik Beann’s Killing Adam.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: B+

Elizabeth, in a rare visit to her grandmother’s small Mississippi hometown of Cyprus, becomes determined to find the truth behind Loralie’s disappearance. After a mysterious pre-dawn visit from psychic Madame Antoinette (who soon after is murdered), Elizabeth begins to understand that she, too, has some kind of psychic ability and that embracing it may just save her life from the vicious cabal determined to create a whites-only society. Besides what Elizabeth refers to as "the psychic thing," Abbot’s smart, spectacular thriller—centered on white supremacists, conspiracy theorists, a possible coup, efforts to stoke racial violence, and the Society itself, which peddles poison familiar from some real-life organizations— proves not just credible but sadly believable.
Abbot skillfully stirs reader sympathy for her multi-dimensional protagonists, even the ones with checkered pasts, reminding those of us in the real world to heed the conscience in times of trouble. Well-drawn supporting characters, especially journalist Juanita Alvarez, keep the story quickly advancing. The author’s background in the US Department of Defense lends gravitas to her taut narrative, though her touch is light. Readers will likely forgive minor editing hiccups thanks to a tight plot full of hair-raising twists and turns, which is terrifyingly plausible and expertly told. This is a must-read for anyone who loves thrillers—and America
Takeaway: This skillfully told thriller pits a small-town woman against a white supremacist plot to kickstart a race war.
Great for fans of: Karin Slaughter’s The Last Widow, Alexi Zentner’s Copperhead.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
In the sharp, hardboiled prose you would expect from a detective novelist, Smith recounts his first encounters with criminals, while working security; his first law enforcement work; and the “great pride, joy, sorrow, and heartbreak” of his two decades in the field. Smith shares vivid details (the cheap perfume his partner sprayed into his mask before entering a crime scene), hard-earned insights, and stories of courage and terror, told with crisp, raw dialogue, a feeling for the drama of potentially violent confrontations, and an undercurrent of despair, despite many heartfelt tributes to cops he trusted and the mentor whose murder he had to look into.
The cop’s eye perspective stays focused on individual crimes rather than broader contemplation of crime and policing. Many stories here–like the one about the mountain man, the pack of dogs, and Smith’s choice to go in without backup–are doozies. Smith is frank about what urban police work actually looks like: “Okay, we’re not supposed to profile,” he concedes when telling the story of pulling over a car filled with what he guessed to be gang-affiliated parolees. The memoir reels through murder after murder–including the one time he believed it when a suspect said “But I didn’t do anything!”–offering a clarifying portrait of the mind and experience of a detective.
Takeaway: David Leonard’s Real Cop, Corey Pegues’s Once a Cop.
Great for fans of: A Los Angeles homicide detective tells all in this vivid, sharply written memoir.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: N/A
As a determined and innovative young man, Bailey’s clout quickly grew in the circus world. In 1880, the 70-year-old Barnum, a competitor of Bailey’s in the circus world, wanted to buy a newborn elephant from Bailey’s establishment–a purchase that kick-started their history-making partnership. To tell Bailey’s story, Adams intersperses traditional narratives with eye-catching graphics and remarkable circus facts and terms: a tattooed man is known as a “picture gallery,” and the circus elephant required 200 pounds of hay a day. Full pages of colorful, nostalgic circus folklore showing magnificent animals and performers will hold the interest of younger readers and spark their imagination–like the posters for “Evetta, The Only Lady Clown” and a reproduction of an original Barnum & Bailey admission ticket.
While animal-oriented circuses have gotten a bad rap in recent years, this upbeat stroll down memory lane recalls the curiosity and intrigue of a time when gathering under the big top to see musical donkeys and Jumbo the elephant was truly a novel experience. Adams’s snappy prose will be easy for young readers to follow and understand as they become acquainted with Bailey–along with the exhilaration and adventure of being swept up into the golden age of the circus.
Takeaway:With sharp prose and colorful images, Adams does justice to the exciting life of James Bailey, co-founder of the Barnum and Bailey Circus.
Great for fans of: Jen Bryant’s Six Dots: A Story of Young Louis Braille, Deborah Heiligman’s Vincent and Theo.
Production grades
Cover: B+
Design and typography: A-
Illustrations: A-
Editing: A-
Marketing copy: B+
Martin capably highlights the brutality of the Armenian genocide while emphasizing the impact that the murders of her ancestors has had on future generations. While focusing on her own family, she capably weaves historical details and events into the narrative and delves into cultural differences between Turk and the Armenian populations, such as the treatment of women or the roles of arts and education.
The journey of the Gulumian family to Russia to the U.S. is fast-paced and richly enhanced by Martin’s depictions of ever-present dangers–from Turkish soldiers, from illness in Russia’s refugee camps. Martin captures the family’s fortitude as they continue their journey despite grave losses. Though some of the short, terse sentences break up the narrative flow, they do not significantly detract from this immersive story about one family’s determination to survive and thrive against the odds.
Takeaway: This immersive historical novel celebrates the endurance of an Armenian family fleeing persecution.
Great for fans of: Aline Ohanesian’s Orhan’s Inheritance, Nancy Kricorian’s All the Light There Was.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A
J.J.’s attempts to handle being bullied are relatable and will resonate with young readers familiar with similar situations. When he has to get glasses, which his friends think look cool, bully Eric takes his torment to another level (“Know who has more than two eyes? Bugs! You a bug?”). J.J. fears that confronting the situation will only make things worse, but everything comes to an inevitable head when Eric’s attack during recess breaks J.J.’s glasses and causes serious injuries. With the help of teachers dedicated to rooting out bullying in the school, and his concerned parents, J.J. joins the school-sanctioned Better Than A Bully Brigade and confronts Eric in the process.
Levine skillfully tackles a heavy topic with welcoming prose that will reel in middle grade readers, and Ned Levine’s black and white, comic-strip-like illustrations add to the experience. The author alerts readers to different roles involved in bullying, differentiates between types of cruel and bullying behavior, and clarifies how kids can confront the issues without falling into the stereotype of being a “tattletale”–all in an easy-to-follow storyline that illuminates the emotional impact of bullying. Parents, educators, and middle grade readers will welcome this creative foray into bullying prevention.
Takeaway: A relatable story of the emotional and physical impacts of bullying–and how to address and prevent it.
Great for fans of: M. Evan Wolkenstein’s Turtle Boy. James Patterson and Chris Tebbetts’s Middle School, The Worst Years of My Life.
Production grades
Cover: B
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: C
This fast-paced and endearing story is enriched by Fanny Liam’s whimsical digital illustrations. Her charming character work, especially the smiles of the family, the gaps in Jon’s teeth, and a succession of comically expressive mouse poses, imbues the tale with a cheery warmth that invites re-reading. The sight of Timothy J’s tail and hindquarters protruding, in a pair of images, as he searches for the perfect gift for Jon, is a welcome laugh, and he cuts an amusingly dashing figure late in the story, after a surprise costume change from peasant mouse to rodent royalty.
The Tale of the Tooth Mouse offers a unique perspective on a universal childhood experience. The distinctly old-world European take on being a tooth fairy—or tooth mouse—gives readers the chance to think out of the box and imagine the rites of passage in other cultures, all with a fanciful twist. Sure to please young and old readers alike with its whimsy and enchantment, especially in the playful interactions between mouse and children, Dr. Bentz’s lovable tale is a welcome addition to any child’s bookshelf.Takeaway: Lovers of folklore will find whimsy and enchantment in the origin story of the tooth mouse.
Great for fans of: Robert D. San Souci’s The Talking Eggs, Jacqueline Jules’s Feathers for Peacock.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Manera depicts Pasquale as shrewd but arrogant, a tragic antihero hamstrung by paranoia and jealousy. The story's heart is in the relationship between Pasquale and Bellini, who engage in both a literal and metaphorical chess match (on Pasquale’s gilded chess set) in which Pasquale always seems a step ahead of his old friend–unless he at last makes one mistake too many, and the dogged Bellini can pounce. The other characters are drawn more thinly than this compelling pair, serving as plot devices, with Pasquale's wife Rosa offering a collection of anecdotes and complaints, and the other mob members (as well as Pasquale's financiers) edging toward caricature.
Manera lingers over local details in the early pages, but the leisurely pace lasts only until all the pieces are in place and the stakes are fully established. Then, the indirect conflict between Pasquale and Bellini becomes tense and thrilling, right up until the end. Manera's offbeat plot, narrative swerves, emphasis on local culture (“There’s an old Sicilian proverb. ‘You can force someone to cry, but not to sing.’”) and careful attention to the complex relationship between the two leads delivers a fresh take on an old genre.
Takeaway: A mafia story full of unexpected twists, betrayals, and local details that delivers a welcome change of pace.
Great for fans of: Tod Goldberg’s Gangster Nation, Leonardo Sciascia’s The Day of the Owl.
Production grades
Cover: B-
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: B
Walker and Anthony turn a lively eye on Hollywood, seen fresh through Dillinger. We meet a pugnacious James Cagney, a seductive Bette Davis and tough director John Ford. Both authors have a film background, and their sharp yet loving portrayals of these characters and the Hollywood milieu they inhabit give the book its richness. A scene showing legendary acting teacher Maria Ouspenskaya forcing Dillinger to endure humiliating acting exercises serves as an amusing send-up of Hollywood at its nuttiest. Readers should already be familiar with old-time Hollywood legends to get the most out of this, but everyone can enjoy the well-limned principal characters and swift-moving plot.
The greatest joys come from watching Dillinger, here portrayed as intelligent and introspective. His friendship develops with Cagney, who amazes Dillinger by explaining the differences between screen violence and real violence—which gets him to thinking about his own past and future. We see his sensitive side in his warm and surprisingly modern relationship with his long-term girlfriend Billie, a refreshing change from the usual gangster-moll trope. But he never loses his street smarts, and partners with legendary G-Man Melvin Purvis to get ahead in his career. Dillinger brings together the various strands of his life to a surprising and satisfying conclusion worthy of his character—and of golden-age Hollywood.
Takeaway: Fans of old-time Hollywood and 30's crime fiction may tear through this amusing caper in a single sitting.
Great for fans of: Renee Patrick’s Lillian Frost and Edith Head series, Stuart Woods’s The Prince of Beverly Hills.
Production grades
Cover: A-
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A-
This brief account of Frank’s experience is direct and powered by emotion. “Were they accusing us? Were they apologizing to us? Were they pleading for help?” he wonders as he looks into his late son’s eyes, questions he knows will haunt him the rest of his life. He recognizes that, before encountering suicide firsthand, he assumed “that suicide was due to someone’s own weakness.” Now he urges empathy and understanding, while also unleashing fury on the “criminal negligence” of a health care system that believes depression can be diagnosed with a form. This venting may seem contrary to the book’s mission of solace, and it’s unclear whether it’s written with legal expertise, but the expression of frustration can be a crucial part of working through trauma. Frank’s anger could help some readers face the grieving process–and the forms in which such feelings can be expressed.
Though Frank includes a trigger warning in the preface, there is value in stating in this review this memoir includes a graphic depiction of death, and some of the language surrounding suicide is dated. Still, Frank succeeds in his admirable goals of building empathy for those facing depression and suicidal ideation, encouraging an end to the stigma against death by suicide, and exhorting us all to act kindly.
Takeaway: A father’s reckoning with the loss of his son will both pull at heartstrings and inspire readers to be kind.
Great for fans of: Thomas Joiner’s Why People Die By Suicide, Brandy Lidbeck’s The Gift of Second: Healing From the Impact of Suicide.
Production grades
Cover: C
Design and typography: B+
Illustrations: N/A
Editing: B
Marketing copy: B
- «
- 1
- 2
- 3
- 4
- 5
- 6
- 7
- 8
- 9
- 10
- 11
- 12
- 13
- 14
- 15
- 16
- 17
- 18
- 19
- 20
- 21
- 22
- 23
- 24
- 25
- 26
- 27
- 28
- 29
- 30
- 31
- 32
- 33
- 34
- 35
- 36
- 37
- 38
- 39
- 40
- 41
- 42
- 43
- 44
- 45
- 46
- 47
- 48
- 49
- 50
- 51
- 52
- 53
- 54
- 55
- 56
- 57
- 58
- 59
- 60
- 61
- 62
- 63
- 64
- 65
- 66
- 67
- 68
- 69
- 70
- 71
- 72
- 73
- 74
- 75
- 76
- 77
- 78
- 79
- 80
- 81
- 82
- 83
- 84
- 85
- 86
- 87
- 88
- 89
- 90
- 91
- 92
- 93
- 94
- 95
- 96
- 97
- 98
- 99
- 100
- 101
- 102
- 103
- 104
- 105
- 106
- 107
- 108
- 109
- 110
- 111
- 112
- 113
- 114
- 115
- 116
- 117
- 118
- 119
- 120
- 121
- 122
- 123
- 124
- 125
- 126
- 127
- 128
- 129
- 130
- 131
- 132
- 133
- 134
- 135
- 136
- 137
- 138
- 139
- 140
- 141
- 142
- 143
- 144
- 145
- 146
- 147
- 148
- 149
- 150
- 151
- 152
- 153
- »