This second act offering deeper characterization and resonant themes enriches an already compelling tale.

TRAIL OF THE DEAD

From the Killer of Enemies series , Vol. 2

In Volume 2 of this post-apocalyptic series, Lozen leads survivors of the insurrection against Haven’s technically augmented human rulers through gemod-infested wilderness to the hidden valley her Apache family once called home—it doesn’t go as planned.

As Lozen’s powers to read the now-unwired world around her have grown, so have the responsibilities and stresses of leadership. Her companions try to protect her, but it’s a lonely journey. Even as she senses the resourceful, implacable enemy pursuing them and closing in, her past acts and memories of those she dispatched—animal, genetically modified, and human alike—distract and weaken Lozen. Her Chiricahua heritage and mother’s guidance help Lozen resist, yet her sickness grows. To unravel and heal her PTSD requires confronting the toll that killing takes on warriors, however noble their motives or those of the leaders who’ve ordered it. Death-dealing has given her enemy superpower strength. Lozen’s own powerful allies include Coyote (though tricksters bear watching) and a small Lakota group with sentient gemod horses. Superheroes rarely obsess over the beings—evil or merely dispensable—they encounter and dispatch before moving on to the next challenge. Bruchac’s focus on these consequences adds welcome emotional depth to Lozen and to the story itself, while her search for healing and wholeness highlights the strengths of a cultural heritage that is up to the challenge.  

This second act offering deeper characterization and resonant themes enriches an already compelling tale. (Post-apocalyptic fantasy. 12-18)

Pub Date: Oct. 1, 2015

ISBN: 978-1-62014-261-5

Page Count: 400

Publisher: Tu Books

Review Posted Online: July 15, 2015

Kirkus Reviews Issue: Aug. 1, 2015

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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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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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