Readers will be both devastated and inspired by Arturo’s devotion to Faustino and his faith in Santa Muerte. (Fiction....

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SAINT DEATH

A timely but unflinching look at the distressing impact of drugs on the U.S.–Mexico border.

Arturo is a teenager living in Colonia de Anapra, a poor neighborhood of Ciudad Juárez. He gets by doing odd jobs and hustling small amounts of cash with the card game calavera. Faustino, an old friend and now a member of a drug gang, has stolen a large sum of money from the gang, so he begs Arturo to help him replace it. Seeing Eva, Faustino’s girlfriend, and her baby, Arturo agrees to help. Santa Muerte, the titular St. Death, looms large over the plot, invoked in italicized passages between chapters that act as a Greek chorus. Arturo is reluctant to believe in Santa Muerte, but he lights a candle anyway. Over the course of the night that follows, Arturo plays a desperate game of calavera to redeem the debt, and as the stakes rise, so does Arturo’s faith in Santa Muerte. And as Arturo’s game inevitably fails him, Santa Muerte watches him closely. Printz winner Sedgwick (Midwinterblood, 2013) makes great use of unitalicized Spanish throughout the story, with an English translation following most of the Spanish. His third-person, present-tense narrative combines his characteristic precision of English prose with Spanish punctuation conventions in his dialogue. The use of em dashes instead of quotation marks and surrounding questions and exclamations in the Spanish fashion (“—¿What? No way”), while initially distancing for readers unfamiliar with the convention, ultimately creates a dizzyingly immersive experience.

Readers will be both devastated and inspired by Arturo’s devotion to Faustino and his faith in Santa Muerte. (Fiction. 14-adult)

Pub Date: April 25, 2017

ISBN: 978-1-62672-549-2

Page Count: 240

Publisher: Roaring Brook

Review Posted Online: Feb. 4, 2017

Kirkus Reviews Issue: Feb. 15, 2017

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This story is necessary. This story is important.

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THE HATE U GIVE

Sixteen-year-old Starr Carter is a black girl and an expert at navigating the two worlds she exists in: one at Garden Heights, her black neighborhood, and the other at Williamson Prep, her suburban, mostly white high school.

Walking the line between the two becomes immensely harder when Starr is present at the fatal shooting of her childhood best friend, Khalil, by a white police officer. Khalil was unarmed. Khalil’s death becomes national news, where he’s called a thug and possible drug dealer and gangbanger. His death becomes justified in the eyes of many, including one of Starr’s best friends at school. The police’s lackadaisical attitude sparks anger and then protests in the community, turning it into a war zone. Questions remain about what happened in the moments leading to Khalil’s death, and the only witness is Starr, who must now decide what to say or do, if anything. Thomas cuts to the heart of the matter for Starr and for so many like her, laying bare the systemic racism that undergirds her world, and she does so honestly and inescapably, balancing heartbreak and humor. With smooth but powerful prose delivered in Starr’s natural, emphatic voice, finely nuanced characters, and intricate and realistic relationship dynamics, this novel will have readers rooting for Starr and opening their hearts to her friends and family.

This story is necessary. This story is important. (Fiction. 14-adult)

Pub Date: Feb. 28, 2017

ISBN: 978-0-06-249853-3

Page Count: 464

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: Dec. 6, 2016

Kirkus Reviews Issue: Dec. 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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