This outing opens a trilogy; readers will be eager to get their hands on the next installment.

THE HUNDREDTH QUEEN

From the Hundredth Queen series , Vol. 1

Orphan Kalinda was left at a temple as an infant and has always been sickly with a fever, spending most of her childhood in the infirmary at Samiya Temple in this South Asian–inflected fantasy.

Kalinda would have been content to spend her life there, but she is chosen to be the rajah’s 100th rani—a dubious honor, as in taking a 100th wife the rajah is declaring himself equal to the gods. Her journey to the Turquoise Palace in Vanhi has its own trials. One of these is meeting a Burner: a supernatural being who can control fire. In Vanhi, Kalinda finds love and loss, and she uncovers secrets both personal and political. King writes multiple strong female characters, led by Kalinda, who has the loyalty and bravery of spirit to defend her friends even if that means facing death. Kalinda narrates in the genre-conventional present tense, revealing to readers her resistance to the rajah’s cruel manipulations: “if the gods have indeed brought me here, then they know that I will not bend to him. Not now. Not ever.” A prefatory note states that Kalinda’s world is inspired by but not grounded in Sumerian mythology. Strong characterization, deep worldbuilding, page-turning action scenes and intrigue, as well as social commentary, make this book stand out.

This outing opens a trilogy; readers will be eager to get their hands on the next installment. (Fantasy. 13-18)

Pub Date: June 1, 2017

ISBN: 978-1-5039-4365-0

Page Count: 334

Publisher: Skyscape

Review Posted Online: March 6, 2017

Kirkus Reviews Issue: March 15, 2017

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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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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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