PETER AND VERONICA

Peter's mother disapproves of Veronica because she's older and a girl and not Jewish, Veronica's mother disapproves of Peter because he is Jewish, but Peter and Veronica are friends—forever: "I swear to God that I'll never forget Veronica Ganz if she dies. And if I do, may I fall down dead!" "And I swear that if Peter Wedemeyer dies first, I'll remember him and make everybody else remember him or may I be struck down dead!" The pledge in the cemetery, Veronica deadly serious, Peter humoring her, is the apotheosis of their accord; life is harsher. Peter, fighting his family up to the last minute, finally gains permission to invite Veronica to his bar mitzvah—and then she doesn't come. Peter is hurt, resentful, outraged; that she is big and clumsy and afraid of parties, that he was thinking of his feelings (of being a hero) rather than of her feelings doesn't get across to him until after a summer that sees a change in Veronica too. What does come across throughout are the horrors of being a short twelve waiting to "shoot up," of having a mother whose pursuit of dust leaves no room for privacy, of plunging into a first evening party with girls. Some of its predecessors in the series have had a higher hilarity quotient but this is actively and acutely—and disarmingly—a boy in a bind.

Pub Date: March 21, 1969

ISBN: 014037082X

Page Count: 164

Publisher: Doubleday

Review Posted Online: May 8, 2012

Kirkus Reviews Issue: March 1, 1969

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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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A resounding success.

CONCRETE ROSE

This literary DeLorean transports readers into the past, where they hope, dream, and struggle alongside beloved characters from Thomas’ The Hate U Give (2017).

The tale begins in 1998 Garden Heights, when Starr’s parents, Maverick and Lisa, are high school seniors in love and planning for the future. Thomas proves Game of Thrones–esque in her worldbuilding ability, deepening her landscape without sacrificing intimacy or heart. Garden Heights doesn’t contain dragons or sorcerers, but it’s nevertheless a kingdom under siege, and the contemporary pressures its royalty faces are graver for the realness that no magic spell can alleviate. Mav’s a prince whose family prospects are diminished due to his father’s federally mandated absence. He and his best friend, King, are “li’l homies,” lower in status and with everything to prove, especially after Mav becomes a father. In a world where masculinity and violence are inextricably linked to power, the boys’ very identities are tied to the fathers whose names they bear and with whose legacies they must contend. Mav laments, “I ain’t as hard as my pops, ain’t as street as my pops,” but measuring up to that legacy ends in jail or the grave. Worthy prequels make readers invest as though meeting characters for the first time; here they learn more about the intricate hierarchies and alliances within the King Lord gang and gain deeper insight into former ancillary characters, particularly Mav’s parents, King, and Iesha. Characters are Black.

A resounding success. (Fiction. 13-18)

Pub Date: Jan. 12, 2021

ISBN: 978-0-06-284671-6

Page Count: 320

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: Nov. 9, 2020

Kirkus Reviews Issue: Dec. 1, 2020

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