FACE

Looks may not be everything, but few high-school students would deny that physical appearance is connected to self-esteem and social standing. Zephaniah (Refugee Boy, p. 814) explores this theme wherein Martin, a good-looking, confident youngster, is burned and facially disfigured during a car crash. After a prolonged, somewhat tedious setup that introduces Martin and his world and then delineates his hospital stay, Zephaniah gets to the meat of his story—how Martin’s altered face affects his feelings about himself and his relationships with others. Martin proves to be a champion survivor, attending classes as soon as he’s physically able, then joining and becoming the captain of the school gymnastics team. A devastating experience—he’s surrounded by group of younger kids who viciously taunt him about his looks—temporarily drives Martin off the team and back to the safety of his room. But he soon finds the courage to soldier on, leading his team in a freestyle gymnastic routine of his own devise. By showing up and competing at the tournament, he learns that, “It’s not the winning that matters . . . it’s the being here.” It’s a strong idea, but the story, which is set in Britain, never feels like it’s plumbed the depths of the situation fully. The exposition is stilted, Martin’s adjustment is too easy, and the author, by over-explaining how Martin feels and what he’s learned, doesn’t allow the reader to experience his situation viscerally. Nonetheless, a worthy subject that should give kids plenty to think about. (Fiction. 10+)

Pub Date: Nov. 1, 2002

ISBN: 1-58234-774-3

Page Count: 208

Publisher: Bloomsbury

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Nov. 15, 2002

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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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This story is necessary. This story is important.

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THE HATE U GIVE

Sixteen-year-old Starr Carter is a black girl and an expert at navigating the two worlds she exists in: one at Garden Heights, her black neighborhood, and the other at Williamson Prep, her suburban, mostly white high school.

Walking the line between the two becomes immensely harder when Starr is present at the fatal shooting of her childhood best friend, Khalil, by a white police officer. Khalil was unarmed. Khalil’s death becomes national news, where he’s called a thug and possible drug dealer and gangbanger. His death becomes justified in the eyes of many, including one of Starr’s best friends at school. The police’s lackadaisical attitude sparks anger and then protests in the community, turning it into a war zone. Questions remain about what happened in the moments leading to Khalil’s death, and the only witness is Starr, who must now decide what to say or do, if anything. Thomas cuts to the heart of the matter for Starr and for so many like her, laying bare the systemic racism that undergirds her world, and she does so honestly and inescapably, balancing heartbreak and humor. With smooth but powerful prose delivered in Starr’s natural, emphatic voice, finely nuanced characters, and intricate and realistic relationship dynamics, this novel will have readers rooting for Starr and opening their hearts to her friends and family.

This story is necessary. This story is important. (Fiction. 14-adult)

Pub Date: Feb. 28, 2017

ISBN: 978-0-06-249853-3

Page Count: 464

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: Dec. 6, 2016

Kirkus Reviews Issue: Dec. 15, 2016

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