Quoth the Raven, “Encore.” (Paranormal script/prose hybrid. 13-adult)
A newcomer arrives at Westminster Cemetery and shakes things up amongst the Dead.
Of the 178 cemetery residents, only 10 arise regularly. One is 17-year-old Sam, who died wearing his Civil War uniform over 150 years ago. Ever the tortured artist, Sam longs to be a writer like Edgar Allan Poe—the cemetery’s most famous resident. When Lacy Brink, 16, arrives—the first “recently Deceased” person since 1913—Sam is immediately smitten. But Sam’s straight-laced mother, Mrs. Steele, wants to see vulgar (read: modern) Lacy Suppressed (read: confined to her grave for all eternity). As newly-assigned President of the Entertainment Committee, Lacy dares to host an open mic night among the rule-bound residents. Will she succeed, or will her antics get her Suppressed (and crush poor Sam’s heart)? “Originally written for the Deceased,” this play in two acts blends prose with stage directions for a hybrid structure. The resulting alchemy capitalizes on the strengths of both media to create a unique, fully-realized world. The secondary characters—some based on real people—read as caricatures against the more realistic and nuanced Lacy. But this duality also equates to good comedy. Given the stuck-in-time atmosphere, though, some residents’ dialogue seems mismatched (give or take a few choice phrases) to the antiquated necropolis. All characters are assumed white.
Quoth the Raven, “Encore.” (Paranormal script/prose hybrid. 13-adult)Pub Date: Sept. 1, 2018
ISBN: 978-1-5124-6531-0
Page Count: 272
Publisher: Carolrhoda Lab
Review Posted Online: June 17, 2018
Kirkus Reviews Issue: July 1, 2018
Perhaps a more genuinely enlightened protagonist would have made this debut more engaging
Audrey Rose Wadsworth, 17, would rather perform autopsies in her uncle’s dark laboratory than find a suitable husband, as is the socially acceptable rite of passage for a young, white British lady in the late 1800s.
The story immediately brings Audrey into a fractious pairing with her uncle’s young assistant, Thomas Cresswell. The two engage in predictable rounds of “I’m smarter than you are” banter, while Audrey’s older brother, Nathaniel, taunts her for being a girl out of her place. Horrific murders of prostitutes whose identities point to associations with the Wadsworth estate prompt Audrey to start her own investigation, with Thomas as her sidekick. Audrey’s narration is both ponderous and polemical, as she sees her pursuit of her goals and this investigation as part of a crusade for women. She declares that the slain aren’t merely prostitutes but “daughters and wives and mothers,” but she’s also made it a point to deny any alignment with the profiled victims: “I am not going as a prostitute. I am simply blending in.” Audrey also expresses a narrow view of her desired gender role, asserting that “I was determined to be both pretty and fierce,” as if to say that physical beauty and liking “girly” things are integral to feminism. The graphic descriptions of mutilated women don’t do much to speed the pace.
Perhaps a more genuinely enlightened protagonist would have made this debut more engaging . (Historical thriller. 15-18)Pub Date: Sept. 20, 2016
ISBN: 978-0-316-27349-7
Page Count: 336
Publisher: Jimmy Patterson/Little, Brown
Review Posted Online: May 31, 2016
Kirkus Reviews Issue: June 15, 2016
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An ode to the children of migrants who have been taken away.
A Mexican American boy takes on heavy responsibilities when his family is torn apart.
Mateo’s life is turned upside down the day U.S. Immigration and Customs Enforcement agents show up unsuccessfully seeking his Pa at his New York City bodega. The Garcias live in fear until the day both parents are picked up; his Pa is taken to jail and his Ma to a detention center. The adults around Mateo offer support to him and his 7-year-old sister, Sophie, however, he knows he is now responsible for caring for her and the bodega as well as trying to survive junior year—that is, if he wants to fulfill his dream to enter the drama program at the Tisch School of the Arts and become an actor. Mateo’s relationships with his friends Kimmie and Adam (a potential love interest) also suffer repercussions as he keeps his situation a secret. Kimmie is half Korean (her other half is unspecified) and Adam is Italian American; Mateo feels disconnected from them, less American, and with worries they can’t understand. He talks himself out of choosing a safer course of action, a decision that deepens the story. Mateo’s self-awareness and inner monologue at times make him seem older than 16, and, with significant turmoil in the main plot, some side elements feel underdeveloped. Aleman’s narrative joins the ranks of heart-wrenching stories of migrant families who have been separated.
An ode to the children of migrants who have been taken away. (Fiction. 14-18)Pub Date: May 4, 2021
ISBN: 978-0-7595-5605-8
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Feb. 22, 2021
Kirkus Reviews Issue: March 15, 2021
BOOK REVIEW
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