Outrageous and uproariously funny.

WAR AND SPEECH

A girl plots a takedown of the toxic Speech and Debate team that rules her school.

When Sydney starts at Eaganville School for the Arts, she immediately runs afoul of the powerful Speech and Debate kids due to her mouthy nature. She’s adopted by other misfits with Speech grudges—athletic Lakshmi; former Speech star Elijah; and gay theater aficionado Thomas. Sydney decides to avenge her friends by joining Speech and Debate and destroying it from the inside. To do this, she must become good enough to stay on the varsity team all the way to Nationals. The dissent Sydney and friends sow within the team involves inflaming rivalries, toying with hormones, and various other dirty tricks—luckily, the varsity team members are so odious that their punishments remain hilarious. The true villain is the win-at-all-costs abusive coach. Sydney also copes with her family’s new normal—incarcerated father, dramatically reduced socio-economic status, and her mother’s boyfriend, a meathead lunk played for laughs (until he blossoms into a surprisingly supportive and caring character). Humor infuses everything—Sydney’s narration, gleeful profanity, irreverence, and elaborate scheme sequences. The members of the highly diverse cast have distinctive voices and personalities (Sydney and Elijah are white, Lakshmi is Indian, and Thomas is black). The infiltrate-and-destroy storyline combined with immersion in a subculture that is taken with deadly hilarious seriousness make this read like the demented love child of Mean Girls and Pitch Perfect.

Outrageous and uproariously funny. (Fiction. 14-adult)

Pub Date: May 5, 2020

ISBN: 978-1-368-01007-8

Page Count: 416

Publisher: Disney-Hyperion/LBYR

Review Posted Online: Feb. 5, 2020

Kirkus Reviews Issue: March 1, 2020

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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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Grimly plainly worked hard, but, as the title indicates, the result serves his own artistic vision more than Mary Shelley’s.

GRIS GRIMLY'S FRANKENSTEIN

A slightly abridged graphic version of the classic that will drive off all but the artist’s most inveterate fans.

Admirers of the original should be warned away by veteran horror artist Bernie Wrightson’s introductory comments about Grimly’s “wonderfully sly stylization” and the “twinkle” in his artistic eye. Most general readers will founder on the ensuing floods of tiny faux handwritten script that fill the opening 10 pages of stage-setting correspondence (other lengthy letters throughout are presented in similarly hard-to-read typefaces). The few who reach Victor Frankenstein’s narrative will find it—lightly pruned and, in places, translated into sequences of largely wordless panels—in blocks of varied length interspersed amid sheaves of cramped illustrations with, overall, a sickly, greenish-yellow cast. The latter feature spidery, often skeletal figures that barrel over rough landscapes in rococo, steampunk-style vehicles when not assuming melodramatic poses. Though the rarely seen monster is a properly hard-to-resolve jumble of massive rage and lank hair, Dr. Frankenstein looks like a decayed Lyle Lovett with high cheekbones and an errant, outsized quiff. His doomed bride, Elizabeth, sports a white lock à la Elsa Lanchester, and decorative grotesqueries range from arrangements of bones and skull-faced flowers to bunnies and clownish caricatures.

Grimly plainly worked hard, but, as the title indicates, the result serves his own artistic vision more than Mary Shelley’s. (Graphic classic. 14 & up)

Pub Date: Aug. 27, 2013

ISBN: 978-0-06-186297-7

Page Count: 208

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: July 3, 2013

Kirkus Reviews Issue: July 15, 2013

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