A thought-provoking, chilling read with a controversial premise.

AMERICAN HEART

Fifteen-year-old Sarah Mary will do anything for her sensitive younger brother, but she never thought that would mean running from the law.

The setting is the Midwestern United States; the time is the not-too-distant future. A Muslim registry is in effect, and Muslims are being bused to detention centers called “safety zones” en masse. This doesn’t bother Sarah Mary, a strong-minded, fiercely loyal, and protective teenager whose mother has abandoned her and Caleb to their ultraconservative Christian aunt. Her indifference is forced to change when Caleb’s compassion for a Muslim in hiding gets her involved in a plan to help this Iranian woman escape. Together, Sarah Mary and her new companion face extreme dangers, prejudices, disappointments—and unexpected kindnesses from their fellow Americans as they fight nearly impossible odds to get her through several states and over the border undetected. Moriarty creates a frighteningly believable setting of fear and violent nativism gone awry as she traces their journey to help Sadaf find the freedom she sought when she immigrated to the United States. Sarah Mary's ignorance is an effective worldbuilding device, but it is problematic that Sadaf is seen only through the white protagonist's filter. Still, some will find value in the emotionally intense exploration of extremist “patriotic” ideology, the dangers of brainwashing and blind spots, and some of the components of our nation's social fabric that threaten to destroy us, such as segregation, greed, mistrust, and mob mentalities.

A thought-provoking, chilling read with a controversial premise. (Fiction. 13-18) (Ed. Note: The review of American Heart has been edited for clarity and to provide additional insights from the reviewer from its original appearance on kirkus.com, which was removed from the site with this statement.)

Pub Date: Jan. 30, 2018

ISBN: 978-0-06-269410-2

Page Count: 416

Publisher: HarperTeen

Review Posted Online: Oct. 16, 2017

Kirkus Reviews Issue: Nov. 15, 2017

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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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Grimly plainly worked hard, but, as the title indicates, the result serves his own artistic vision more than Mary Shelley’s.

GRIS GRIMLY'S FRANKENSTEIN

A slightly abridged graphic version of the classic that will drive off all but the artist’s most inveterate fans.

Admirers of the original should be warned away by veteran horror artist Bernie Wrightson’s introductory comments about Grimly’s “wonderfully sly stylization” and the “twinkle” in his artistic eye. Most general readers will founder on the ensuing floods of tiny faux handwritten script that fill the opening 10 pages of stage-setting correspondence (other lengthy letters throughout are presented in similarly hard-to-read typefaces). The few who reach Victor Frankenstein’s narrative will find it—lightly pruned and, in places, translated into sequences of largely wordless panels—in blocks of varied length interspersed amid sheaves of cramped illustrations with, overall, a sickly, greenish-yellow cast. The latter feature spidery, often skeletal figures that barrel over rough landscapes in rococo, steampunk-style vehicles when not assuming melodramatic poses. Though the rarely seen monster is a properly hard-to-resolve jumble of massive rage and lank hair, Dr. Frankenstein looks like a decayed Lyle Lovett with high cheekbones and an errant, outsized quiff. His doomed bride, Elizabeth, sports a white lock à la Elsa Lanchester, and decorative grotesqueries range from arrangements of bones and skull-faced flowers to bunnies and clownish caricatures.

Grimly plainly worked hard, but, as the title indicates, the result serves his own artistic vision more than Mary Shelley’s. (Graphic classic. 14 & up)

Pub Date: Aug. 27, 2013

ISBN: 978-0-06-186297-7

Page Count: 208

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: July 3, 2013

Kirkus Reviews Issue: July 15, 2013

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