A richly realized coming-of-age story about discovering one’s roots and the nuances of family relationships.

THE HONEYMAN & THE HUNTER

When Rudra Solace’s maternal grandmother from India visits his family in Patonga, New South Wales, he starts to question his identity and the familiarity he feels with a woman he had never met.

Will Didima help Rudra find his roots when life as he knows it is thrown into upheaval? Rudra is on summer break and has been spending his days surfing with his best friend, Maggs Briley—that is, when he’s not being forced to help his father, Cord, with the family fishing business. Cord, who is White, has a tight, invisible leash wound around his family, and both Rudra’s and his mother Nayna’s every action bears the shadow of Cord’s strong hold. Things change when Rudra discovers an unusual object while fishing, and soon he and his mother are off on an adventure to India. Grant captures the layers that come with multigenerational relationships. Lovely interactions between Rudra and his Didima—as well as the stories he hears about his own mother and who she was before she married Cord—give Rudra a strong character arc, from discovering there is more to life than fishing in a small town to being bullied, having his identity as a biracial person called into question, and owning both his Indian and Australian identities. This thoughtful book is reminiscent of Amitav Ghosh’s The Hungry Tide (2004).

A richly realized coming-of-age story about discovering one’s roots and the nuances of family relationships. (map) (Fiction. 14-18)

Pub Date: Oct. 1, 2020

ISBN: 978-1-76063-187-1

Page Count: 288

Publisher: A & U Children/Trafalgar

Review Posted Online: Aug. 4, 2020

Kirkus Reviews Issue: Aug. 15, 2020

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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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This grittily provocative debut explores the horrors of self-harm and the healing power of artistic expression.

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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