A deftly written examination of familial relationships, trauma, and post-adolescence.

THE SECOND LIFE OF AVA RIVERS

A teen girl’s life is turned upside down when her missing twin reappears after 12 years.

Ava Rivers, the blonde fraternal twin of auburn-haired Vera, went missing one Halloween night, fracturing her otherwise harmonious family. After Ava’s disappearance, the girls’ brother, Elliott, spends his days living a drug-fueled and rather aimless life; their father quits his job and moves into the family basement, chain-smoking and scouring the Internet for leads about Ava; and their perfectly polished mother crams her days full of high-profile philanthropic events. Wonderfully snarky-voiced Vera is counting the days until she can move from her stifling home in laid-back Berkeley to attend college in Portland, Oregon. However, when Ava suddenly comes back, the Rivers’ lives are seemingly put on hold. Ava’s return brings about many changes for Vera—she defers college; rekindles a relationship with Max, Ava’s African-American childhood best friend; and eventually pulls her family back together—but she struggles to familiarize herself with a person who is both a stranger and an intrinsic part of herself. An unconventional take on the well-trod subject of kidnapping, Gardner’s (Perdita, 2015, etc.) clever offering features a surprising twist and should leave readers ruminating over what truly defines family. Vera is bisexual (as is her male love interest), and she and her sister are multiracial (white father, half Iranian/half Mexican mother).

A deftly written examination of familial relationships, trauma, and post-adolescence. (Fiction. 14-adult)

Pub Date: Aug. 28, 2018

ISBN: 978-0-451-47830-6

Page Count: 384

Publisher: Razorbill/Penguin

Review Posted Online: May 28, 2018

Kirkus Reviews Issue: June 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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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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