The football team is grossed out when Alan, flamboyantly effeminate, transfers to their high school (cue a relentless stream...

CROSSING LINES

An unsubtle and old-fashioned exploration of homophobia.

The football team is grossed out when Alan, flamboyantly effeminate, transfers to their high school (cue a relentless stream of homophobic jokes). The novel’s narrator, varsity player Adonis, battling a negative body image from chubbier days, is no exception. His homophobia is nurtured by his firefighter dad and frowned on by his teacher mom and sister Jeannie, the school’s Fashion Club VP and Alan’s friend. That Alan, the club’s sole male, is its president goes unnoticed; gender bias is beyond the one-issue scope. Alan’s dad is an Army colonel and clueless bigot. Manliness here equals homophobia; the one tolerant male adult is Adonis’ hippie, ponytailed English teacher. Adonis’ dilemma propels the action. (Oddly, he’s never teased about his name). Melody, the girl he’s pursuing, believes, approvingly, that Adonis belongs to the pro-Alan faction. Adonis’ football-team peers will reject him unless he treats Alan with ridicule and contempt. Chief among these one-dimensional stereotypes is Alan—kind, noble and the dullest drag queen ever to wear dresses and lipstick. Is he gay, transsexual, cross-dressing or questioning? We’re never told. Nuanced distinctions of character don’t exist in this curiously retro world in which no one watches Glee and gays in the military aren’t on anyone’s radar.

Pub Date: June 9, 2011

ISBN: 978-0-670-01214-5

Page Count: 256

Publisher: Viking

Review Posted Online: April 18, 2011

Kirkus Reviews Issue: May 1, 2011

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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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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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