Morgyn’s supernaturally tinged debut is a heartbreaking but hopeful exploration of death and grief.

RESURRECTION GIRLS

Three years ago, Olivia Foster’s 3-year-old brother, Robby, drowned in the backyard pool while she flirted with her crush, Prescott Peters.

Since then, the pool has been filled in, her mother rarely emerges from her room, her dad’s work hours have mysteriously gotten longer, and 16-year-old narrator Olivia occasionally raids her mother’s prescription pill stash to dull her own pain and guilt as she assumes a lion’s share of the responsibility at home. The scorching Houston summer takes a transformative turn when Kara Hallas moves into the long-vacant house across the street with her cigar-chomping maternal grandmother, Sybil, and flame-haired mother, Rhea. The wild and vibrant Kara is a magnet for everyone, including Prescott, whom Olivia has barely seen since Robby’s death. Friendship, and maybe something more, blooms, and Kara convinces Olivia to help her write letters to death row inmates as the Resurrection Girls, claiming that they’re giving them hope in their last days. A dark and unearthly something simmers in Kara that awakens a fire in Olivia and may be the key to finding a way out of the “endless parade of days” they’ve marched through like “automatons” since Robby’s death. The lovely, assured prose draws on ancient archetypes and a lingering sense of dread to pave the way for a strange but satisfying conclusion. All characters are assumed white (the Hallas family are Greek American).

Morgyn’s supernaturally tinged debut is a heartbreaking but hopeful exploration of death and grief. (Magical realism. 13-18)

Pub Date: Oct. 1, 2019

ISBN: 978-0-8075-6942-9

Page Count: 272

Publisher: Whitman

Review Posted Online: July 24, 2019

Kirkus Reviews Issue: Aug. 15, 2019

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Engrossing, contemplative, and as heart-wrenching as the title promises.

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THEY BOTH DIE AT THE END

What would you do with one day left to live?

In an alternate present, a company named Death-Cast calls Deckers—people who will die within the coming day—to inform them of their impending deaths, though not how they will happen. The End Day call comes for two teenagers living in New York City: Puerto Rican Mateo and bisexual Cuban-American foster kid Rufus. Rufus needs company after a violent act puts cops on his tail and lands his friends in jail; Mateo wants someone to push him past his comfort zone after a lifetime of playing it safe. The two meet through Last Friend, an app that connects lonely Deckers (one of many ways in which Death-Cast influences social media). Mateo and Rufus set out to seize the day together in their final hours, during which their deepening friendship blossoms into something more. Present-tense chapters, short and time-stamped, primarily feature the protagonists’ distinctive first-person narrations. Fleeting third-person chapters give windows into the lives of other characters they encounter, underscoring how even a tiny action can change the course of someone else’s life. It’s another standout from Silvera (History Is All You Left Me, 2017, etc.), who here grapples gracefully with heavy questions about death and the meaning of a life well-lived.

Engrossing, contemplative, and as heart-wrenching as the title promises. (Speculative fiction. 13-adult).

Pub Date: Sept. 5, 2017

ISBN: 978-0-06-245779-0

Page Count: 384

Publisher: HarperTeen

Review Posted Online: June 5, 2017

Kirkus Reviews Issue: June 15, 2017

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Riveting, brutal and beautifully told.

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WE WERE LIARS

A devastating tale of greed and secrets springs from the summer that tore Cady’s life apart.

Cady Sinclair’s family uses its inherited wealth to ensure that each successive generation is blond, beautiful and powerful. Reunited each summer by the family patriarch on his private island, his three adult daughters and various grandchildren lead charmed, fairy-tale lives (an idea reinforced by the periodic inclusions of Cady’s reworkings of fairy tales to tell the Sinclair family story). But this is no sanitized, modern Disney fairy tale; this is Cinderella with her stepsisters’ slashed heels in bloody glass slippers. Cady’s fairy-tale retellings are dark, as is the personal tragedy that has led to her examination of the skeletons in the Sinclair castle’s closets; its rent turns out to be extracted in personal sacrifices. Brilliantly, Lockhart resists simply crucifying the Sinclairs, which might make the family’s foreshadowed tragedy predictable or even satisfying. Instead, she humanizes them (and their painful contradictions) by including nostalgic images that showcase the love shared among Cady, her two cousins closest in age, and Gat, the Heathcliff-esque figure she has always loved. Though increasingly disenchanted with the Sinclair legacy of self-absorption, the four believe family redemption is possible—if they have the courage to act. Their sincere hopes and foolish naïveté make the teens’ desperate, grand gesture all that much more tragic.

Riveting, brutal and beautifully told. (Fiction. 14 & up)

Pub Date: May 13, 2014

ISBN: 978-0-385-74126-2

Page Count: 240

Publisher: Delacorte

Review Posted Online: March 17, 2014

Kirkus Reviews Issue: April 1, 2014

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