A potentially interesting premise is marred by convoluted language, cardboard characters, and dismissive diversity.

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WHAT YOU LEFT ME

A group of teens finds friendship in the aftermath of tragedy.

Petra McGowan, sitting next to Martin McGee at her high school graduation ceremony, is uneasy—readers find out why later—but Martin, friendly and open-hearted, invites her to his post-graduation party even though the two white teens haven’t met before. But when Petra and her friends get to Martin’s house, they find it empty and silent. Subsequently, they learn that Martin and his best friend have gotten into a drunken driving accident, and Martin is in a coma. The story attempts to unfold: Martin’s and Petra’s friends forge bonds in the hospital waiting room, and first Petra and then others begin to encounter Martin in their dreams while sleeping, which has the ultimate effect of bringing the two groups of friends together and healing an earlier trauma of Petra’s. But too many characters and too many points of view (Petra and Martin tell their stories in alternating first-person, and the other characters interact with dream-sequence Martin in third-person), as well as some seriously convoluted language that just won’t quit, terminally obscure the plot. Characterization is one-dimensional and revolves primarily around a disdain for high school and parents. Then there is the gratuitous diversity problem: The Latina, Indian, and black characters exhibit no cultural distinction beyond skin color or speaking Spanish occasionally.

A potentially interesting premise is marred by convoluted language, cardboard characters, and dismissive diversity. (Fiction. 14-18)

Pub Date: June 5, 2018

ISBN: 978-1-4926-5551-0

Page Count: 304

Publisher: Sourcebooks Fire

Review Posted Online: April 3, 2018

Kirkus Reviews Issue: April 15, 2018

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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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An unpolished grab bag of incidents that tries to make a point about racial inequality.

I'M NOT DYING WITH YOU TONIGHT

Two teenage girls—Lena and Campbell—come together following a football game night gone wrong.

Campbell, who is white and new to Atlanta, now attends the school where Lena, who is black, is a queen bee. At a game between McPherson High and their rival, a racist slur leads to fights, and shots are fired. The unlikely pair are thrown together as they try to escape the dangers on campus only to find things are even more perilous on the outside; a police blockade forces them to walk through a dangerous neighborhood toward home. En route, a peaceful protest turns into rioting, and the presence of police sets off a clash with protestors with gruesome consequences. The book attempts to tackle racial injustice in America by offering two contrasting viewpoints via narrators of different races. However, it portrays black characters as violent and criminal and the white ones as excusably ignorant and subtly racist, seemingly redeemed by moments when they pause to consider their privileges and biases. Unresolved story arcs, underdeveloped characters, and a jumpy plot that tries to pack too much into too small a space leave the story lacking. This is not a story of friendship but of how trauma can forge a bond—albeit a weak and questionable one—if only for a night.

An unpolished grab bag of incidents that tries to make a point about racial inequality. (Fiction. 15-adult)

Pub Date: Aug. 6, 2019

ISBN: 978-1-4926-7889-2

Page Count: 272

Publisher: Sourcebooks Fire

Review Posted Online: May 22, 2019

Kirkus Reviews Issue: June 15, 2019

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