A great deal of fun, one stitch at a time.

MURDER, MAGIC, AND WHAT WE WORE

“Women’s work” is a weapon in this female-centric spy novel set in the Regency era.

Annis Whitworth’s father has died, leaving the white English teen and her aunt—her only living relative—penniless. What is a destitute lady of quality and intelligence to do? Serving as governess to small children will not do, nor will being a lady’s companion. And marriage is out of the question. While altering a dreadful pre-made mourning gown, Annis discovers she’s a glamour artist. She can transform any article of clothing into a disguise, a talent fit for a spy. Annis’ father was a spy, so why shouldn’t she be one as well? She heads to the War Office to offer her services, but she’s dismissed as a silly girl. With mounting debts, Annis, Aunt Cassia, and their maid Millie move to Flittingsworth, where Annis sets up shop as Madame Martine, glamour modiste. When a real threat looms, Annis hopes she can convince the War Office to hire Madame Martine to wield her powers for England. Annis and Cassia and their unmarried female associates (all evidently white) defy 19th-century gender conventions with their independence, intellect, and daring. Tongue-in-cheek commentary on the state of womanhood dominates the narrative, and the story’s most meaningful relationships are those among the women of the story. Cameos from history, classic literature, and modern Regency novels for young readers add fizz for those in the know.

A great deal of fun, one stitch at a time. (author’s note) (Historical fantasy. 12-18)

Pub Date: Sept. 19, 2017

ISBN: 978-0-553-53520-4

Page Count: 304

Publisher: Knopf

Review Posted Online: May 31, 2017

Kirkus Reviews Issue: June 15, 2017

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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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