Pippa’s fresh, up-to-date voice is muted by her misery, making for gray-tone images rather than the dynamism of color.

LEADING LINES

From the Pippa Greene series , Vol. 3

Pippa Greene is back in her hometown trying to sort out her confusing relationship with Dylan.

He was mostly out of sight in Depth of Field (2014), probably not a bad place for him. He’s taking a gap year before attending college; Pippa’s still in high school. The main reason for Dylan’s year off is that he’s just finished cancer therapy, a secret he’s shared with Pippa but few others. Meanwhile, he’s active with traveling rock bands and may be forming a romantic connection to fellow rocker Muse. Pippa is frustratingly slow to understand what readers will recognize immediately: Dylan has lost interest in her. Supported by her best friend, Dace, and fellow photographer Ben, distracted by sorting through the photographs taken by her recently deceased father, and at odds with her concerned mother, Pippa just barely muddles along. By the end, it’s clear that Ben harbors romantic feelings for her, surely setting up another emotional roller coaster in a coming volume. Lacking the inside look at the photography world that enlivened the previous outing—although Pippa keeps camera in hand here, too—romance is required to carry the full load of the plot. But Dylan is disappointing, and there isn’t enough of the promising Ben.

Pippa’s fresh, up-to-date voice is muted by her misery, making for gray-tone images rather than the dynamism of color. (Fiction. 11-18)

Pub Date: Sept. 1, 2015

ISBN: 978-1-77041-232-3

Page Count: 200

Publisher: ECW Press

Review Posted Online: June 29, 2015

Kirkus Reviews Issue: July 15, 2015

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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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