A dense story with rich associative leaps, the novel will prompt discussions about race, class, sexuality, and gender.

IRON RIVER

Haunted by nightmares and the dangers of life in a Los Angeles barrio, Manuel Maldonado Jr.’s courageous testimony forever changes his community.

Born with a port-wine stain that earns him the nickname “Man-On-Fire,” 12-year-old Manny plays with a group of three friends in the shadow of the Pacific Railroad in the late 1950s. He and his buddies engage in dangerous games along the tracks, throwing oranges at hobos who ride on the cars. When they find a dead body and run into trouble with a crooked policeman, they seem destined for juvenile detention. With the return of an uncle from prison, a drug-ridden hometown, and a racist cop on the loose, Manny’s small circle of friends and family is his only safety net. In the wake of another death, a secret comes to light, leading the way to forgiveness in his family. A story about a sensitive Mexican boy in a multicultural community that also includes Japanese-Americans and African-Americans, the novel treats difficult themes with hope. “I’m telling you this now because I don’t know when I’m going to die,” our young narrator says at the beginning of the novel. By the end of the story, readers will understand the obstacles thrown in the paths of youths from disadvantaged communities.

A dense story with rich associative leaps, the novel will prompt discussions about race, class, sexuality, and gender. (Historical fiction. 12-18)

Pub Date: Sept. 18, 2018

ISBN: 978-1-941026-93-9

Page Count: 225

Publisher: Cinco Puntos Press

Review Posted Online: July 17, 2018

Kirkus Reviews Issue: Aug. 1, 2018

Did you like this book?

No Comments Yet

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

Reader Votes

  • Readers Vote
  • 32

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2017

  • New York Times Bestseller

  • IndieBound Bestseller

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

Did you like this book?

Riveting, brutal and beautifully told.

Reader Votes

  • Readers Vote
  • 21

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2014

  • New York Times Bestseller

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

Did you like this book?

more