McGovern tackles uncertainty in an array of forms—illness, college, career, love—with ethnically diverse characters and...

RULES FOR 50/50 CHANCES

"My mother is my crystal ball," declares 17-year-old Rose Levenson. She's right in more ways than she believes.

Rose's mother suffers from Huntington's disease, a rare, genetic, fatally progressive physical and mental disease—"the tiniest typo in a book with billions of words"—that Rose stands a 50 percent chance of developing. When she meets Caleb, an African-American art student whose mother and sisters have sickle cell anemia, she realizes that she can take a genetic test when she's 18 to find out whether she inherited more than her mother's love of trains and dancing. Her developing romance with Caleb, fraught with frank arguments on race and the perversely human tendency to compare problems, sparks more suspense than her life-or-death indecision about being tested. Despite everything the result would influence—college, family, a future in ballet—Rose's attitude is flatly pessimistic. While understandable against her mother's horrifying personality fluctuations, this is also frustrating. She highlights loss of empathy as a Huntington's symptom while extending little to family and friends herself, dismissing even her mother's grief as a "one-sided irrational disease-induced rampage"; by the time she acknowledges her friends' problems and her mother's personhood, readers may have lost their patience.

McGovern tackles uncertainty in an array of forms—illness, college, career, love—with ethnically diverse characters and occasionally memorable phrases, but through Rose's often self-centered point of view, the result is uneven. (Fiction. 14-18)

Pub Date: Nov. 24, 2015

ISBN: 978-0-374-30158-3

Page Count: 352

Publisher: Farrar, Straus and Giroux

Review Posted Online: Aug. 12, 2015

Kirkus Reviews Issue: Sept. 1, 2015

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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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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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