A moving, almost-suffocating, haunting exploration of what defines manhood.

BLOODLINE

Recently suspended twice for school fights, 17-year-old Abraham grapples with a propensity for violence.

The Latino teen’s grandmother can’t seem to bear his fighting anymore and decides that “Abram needs to learn how to be a man.” She enlists the help of Claudio, Abraham’s boorish, hostile uncle. With Uncle Claudio’s impending return, Abram fears the worst. Although his mother’s absence and his father’s death—a topic not broached in his family—also gnaw at him, he finds solace in his relationship with almost-girlfriend Ophelia, who urges him to root out the source of his aggression. “If you keep fighting….Nothing good can come from this, Abraham.” In his debut for teens, Jiménez (The Possibilities of Mud, 2014) explores shades of manhood and all it entails with a deft, poetic hand. Utilizing a second-person narration, the author revels in offering intense sensory details, portraying a firm sense of Abram’s inner turmoil. Uncle Claudio’s arrival marks the beginning of an ill-fated path for his nephew. After taking him to the gym to hone his strength, Uncle Claudio wants to prepare Abram for a career in boxing. Falling deeper for Ophelia, Abram considers his uncle’s offer as he muses on the “prospect of bills and a job and a family to lead.” When Uncle Claudio signs him up for dubious fighting matches, it all comes crashing down on Abram. Revelations come in disorienting wallops.

A moving, almost-suffocating, haunting exploration of what defines manhood. (Fiction. 14 & up)

Pub Date: May 31, 2016

ISBN: 978-1-55885-828-2

Page Count: 128

Publisher: Piñata Books/Arte Público

Review Posted Online: March 30, 2016

Kirkus Reviews Issue: April 15, 2016

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

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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