The beautiful black-on-blue cut-paper–designed cover is perhaps the most attractive thing about it.

CROW GIRL

From a press that specializes in middle-grade–and-above–interest–level books written at a low reading level, a story both simple and simplistic about a teen finding herself.

Lily is tormented by the mean girls at school, but the principal chooses not to do anything, ascribing it to Lily’s sensitivity. Lily’s mom, with 10-year-old boy twins, wants to believe all is OK, but Lily is obsessed with hiding herself, particularly her breasts and belly, feeling that she is fat and unattractive. Coming home from school through the woods, she discovers a crow looking at her fiercely, and she begins to bring scraps to the crows that then come at her call. She stops eating sweets after school so she can get to the crows, who make her feel scared and powerful at once. Her grandmother teaches her to stand properly and buys her bras that fit, so subtly, Lily’s appearance is transformed. She attends a Halloween party dressed as a crow, effectively scaring some people and wowing some others, and gets back at the clique in a not-very-nice but satisfying way. Everything happens in lightly sketched outline, and it is all telling, not showing. Perhaps because it is all meant to be empowering and full of good advice, with a generous dash of crow magic, there is very little character development.

The beautiful black-on-blue cut-paper–designed cover is perhaps the most attractive thing about it. (Fiction. 10-18)

Pub Date: Nov. 1, 2012

ISBN: 978-1-78112-122-1

Page Count: 80

Publisher: Stoke Books

Review Posted Online: Sept. 19, 2012

Kirkus Reviews Issue: Oct. 15, 2012

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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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