A book about “bullies and bruises and babysitting Gramps” with apocalyptic interludes—the End cannot come quickly enough.

LOSS

From the Riders of the Apocalypse series , Vol. 3

Bullied Billy Ballard must take Pestilence’s crown and ride with the Horsemen of the Apocalypse or let the world be destroyed, in this third book in the Riders of the Apocalypse Quartet.

Haunted by his childhood promise to the disease-riddled Ice Cream Man (aka the White Rider/Pestilence/the Conqueror), 15-year-old Billy is nonetheless surprised when Death asks him to abandon his mortal life and assume apocalyptic power. Given that Billy’s world is filled with bullies—whose motives are inadequately explained—a workaholic mother and a grandfather made alien and violent by Alzheimer’s, a new life seems preferable. Unlike War and Famine (in Rage, 2011, and Hunger, 2010), Billy has a choice: Defeat the Conqueror or convince him to ride forth and restore balance. Billy dreamwalks among Pestilence’s millennia of memories of suffering, only to have the White Rider return and try to save the world by sickening it—an illogical solution paralleled by other equally incoherent plot points. Issues of bullying and Alzheimer’s vie for attention, unsubtly and incongruously matched with a dark fantasy story about apocalyptic personifications. Flat characters—the horses have more pizzazz than the obligatory love interest, Marianne Bixby—undermine Billy’s epiphany of self-worth and social belonging.

A book about “bullies and bruises and babysitting Gramps” with apocalyptic interludes—the End cannot come quickly enough. (Fantasy. 12 & up)

Pub Date: March 20, 2012

ISBN: 978-0-547-71215-4

Page Count: 272

Publisher: Graphia

Review Posted Online: Jan. 18, 2012

Kirkus Reviews Issue: Feb. 1, 2012

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This grittily provocative debut explores the horrors of self-harm and the healing power of artistic expression.

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GIRL IN PIECES

After surviving a suicide attempt, a fragile teen isn't sure she can endure without cutting herself.

Seventeen-year-old Charlie Davis, a white girl living on the margins, thinks she has little reason to live: her father drowned himself; her bereft and abusive mother kicked her out; her best friend, Ellis, is nearly brain dead after cutting too deeply; and she's gone through unspeakable experiences living on the street. After spending time in treatment with other young women like her—who cut, burn, poke, and otherwise hurt themselves—Charlie is released and takes a bus from the Twin Cities to Tucson to be closer to Mikey, a boy she "like-likes" but who had pined for Ellis instead. But things don't go as planned in the Arizona desert, because sweet Mikey just wants to be friends. Feeling rejected, Charlie, an artist, is drawn into a destructive new relationship with her sexy older co-worker, a "semifamous" local musician who's obviously a junkie alcoholic. Through intense, diarylike chapters chronicling Charlie's journey, the author captures the brutal and heartbreaking way "girls who write their pain on their bodies" scar and mar themselves, either succumbing or surviving. Like most issue books, this is not an easy read, but it's poignant and transcendent as Charlie breaks more and more before piecing herself back together.

This grittily provocative debut explores the horrors of self-harm and the healing power of artistic expression. (author’s note) (Fiction. 14 & up)

Pub Date: Aug. 30, 2016

ISBN: 978-1-101-93471-5

Page Count: 416

Publisher: Delacorte

Review Posted Online: May 4, 2016

Kirkus Reviews Issue: May 15, 2016

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A rush of emotion and suspense.

THE FIRST TO DIE AT THE END

Crowds gather across the United States for the launch of Death-Cast, a company that promises to change the world by predicting the deaths of everyone who subscribes in this prequel to They Both Die at the End (2017).

Orion Pagan, an aspiring author with a heart condition, hopes his phone won’t ring at midnight, but he knows Death-Cast’s call is coming soon. Unlike Orion, Valentino Prince, a model on the verge of his national debut, has no reason to anticipate Death-Cast’s call and isn’t sure if he believes the company’s claims. By coincidence or fate, their lives collide at a party in Times Square, and a single, historic phone call alters the courses of their futures. This heart-pounding story follows the final day of the first Decker, or person who is going to die, and the national chaos of Death-Cast’s premiere. Silvera crafts a web of intricately interconnected character perspectives and conflicts around Orion and Valentino. Apart from Valentino and his twin sister, who are presumed White, most of the characters are Latine, including White-passing Orion, whose family is Puerto Rican. The story confronts heavy topics like grief, abuse, and religious faith with complexity and care. Despite the presumed inevitability of a fatal end to the central romance between Orion and Valentino, Silvera subverts the trope of punishing gay characters with violent tragedy. Familiarity with the original book provides additional context and depth but isn’t essential to understanding the plot.

A rush of emotion and suspense. (Speculative fiction. 13-18)

Pub Date: Oct. 4, 2022

ISBN: 978-0-06-324080-3

Page Count: 416

Publisher: Quill Tree Books/HarperCollins

Review Posted Online: July 13, 2022

Kirkus Reviews Issue: Aug. 1, 2022

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