Austen, Wilde, and Indiana Jones converge in this deliciously anachronistic bonbon.
An 18th-century Grand Tour goes exquisitely wrong.
Eighteen-year-old white viscount Henry “Monty” Montague is as known for his dashing looks as his penchant for booze—and boys. Before his abusive father grooms him to run the estate, he and his mixed-race best friend, Percy, orphan son of a British colonist and a Barbadian woman, are sent on a yearlong Grand Tour—after which he and Percy will likely be separated forever. Adding insult, their Tour begins under the proviso that, after Monty’s sister is delivered to school in Marseille, Monty will remain on the sober straight and narrow or else risk loss of title and fortune. Monty wastes no time in demolishing this agreement in Paris when he gets hammered, offends Percy, insults a duke, ends up naked at Versailles, and steals an objet from the palace in a fit of childish rage. The theft ignites an adventure that illuminates a side of life the trio wouldn’t have otherwise seen. Issues of same-sex romance walk in stride with those of race as Monty and Percy find their footing amorously, sexually, and socially. Their realized attraction could mean imprisonment or death, and their relationship is often misconstrued as lord and valet due to Percy’s brown skin. The book’s exquisite, bygone meter and vernacular sit comfortably on a contemporary shelf. And the friction of racism, tyrannical entitled politicians, and misguided disapproval of homosexuality also have a relevance rooted in current culture’s xeno- and homophobia.
Austen, Wilde, and Indiana Jones converge in this deliciously anachronistic bonbon. (Historical fiction. 12-18)Pub Date: June 20, 2017
ISBN: 978-0-06-238280-1
Page Count: 528
Publisher: Katherine Tegen/HarperCollins
Review Posted Online: March 5, 2017
Kirkus Reviews Issue: March 15, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PROFILES
An ode to the children of migrants who have been taken away.
A Mexican American boy takes on heavy responsibilities when his family is torn apart.
Mateo’s life is turned upside down the day U.S. Immigration and Customs Enforcement agents show up unsuccessfully seeking his Pa at his New York City bodega. The Garcias live in fear until the day both parents are picked up; his Pa is taken to jail and his Ma to a detention center. The adults around Mateo offer support to him and his 7-year-old sister, Sophie, however, he knows he is now responsible for caring for her and the bodega as well as trying to survive junior year—that is, if he wants to fulfill his dream to enter the drama program at the Tisch School of the Arts and become an actor. Mateo’s relationships with his friends Kimmie and Adam (a potential love interest) also suffer repercussions as he keeps his situation a secret. Kimmie is half Korean (her other half is unspecified) and Adam is Italian American; Mateo feels disconnected from them, less American, and with worries they can’t understand. He talks himself out of choosing a safer course of action, a decision that deepens the story. Mateo’s self-awareness and inner monologue at times make him seem older than 16, and, with significant turmoil in the main plot, some side elements feel underdeveloped. Aleman’s narrative joins the ranks of heart-wrenching stories of migrant families who have been separated.
An ode to the children of migrants who have been taken away. (Fiction. 14-18)Pub Date: May 4, 2021
ISBN: 978-0-7595-5605-8
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Feb. 22, 2021
Kirkus Reviews Issue: March 15, 2021
BOOK REVIEW
This grittily provocative debut explores the horrors of self-harm and the healing power of artistic expression.
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 3, 2016
Kirkus Reviews Issue: May 15, 2016
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