QUICKSILVER

Alison’s nemesis from Ultraviolet (2011) narrates the overlapping events in this mostly successful sequel-cum–companion piece.

Tori’s family flees Sudbury to reinvent themselves in southern Ontario, leaving identity, names and friends behind after her unusual DNA attracts unwanted medical attention—especially from Deckard, the Sudbury cop investigating her disappearance and return six months later. Disguise notwithstanding, Tori, beautiful and a brilliant engineer in the making, draws plenty of notice, especially from Milo, a Korean-Canadian fellow employee at the supermarket where she checks groceries. Their growing friendship, complicated by Milo’s unrequited longing, is tested when Sebastian Faraday arrives on an urgent errand and Deckard shows up, determined to solve the mystery Tori represents. Though exceptional, Tori makes a strong, convincing protagonist whose fears, blocked sexuality and indifference to her looks ring true. While Sebastian and Alison remain vivid, Milo is less compelling—more supporting player than male lead. One structural factor bogs the story down. Crucial information and back story laid out in Ultraviolet is here withheld from readers until the end. Teasing readers is a time-honored technique for building suspense and usually effective—unless they already know what’s being withheld. Luckily, Anderson’s strong characters and rare knack for weaving contemporary realism and emotional authenticity into hard science fiction should keep even readers in the know engaged. (Science fiction. 12 & up)

 

Pub Date: March 1, 2013

ISBN: 978-0-7613-8799-2

Page Count: 328

Publisher: Carolrhoda Lab

Review Posted Online: Dec. 26, 2012

Kirkus Reviews Issue: Jan. 15, 2013

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Grimly plainly worked hard, but, as the title indicates, the result serves his own artistic vision more than Mary Shelley’s.

GRIS GRIMLY'S FRANKENSTEIN

A slightly abridged graphic version of the classic that will drive off all but the artist’s most inveterate fans.

Admirers of the original should be warned away by veteran horror artist Bernie Wrightson’s introductory comments about Grimly’s “wonderfully sly stylization” and the “twinkle” in his artistic eye. Most general readers will founder on the ensuing floods of tiny faux handwritten script that fill the opening 10 pages of stage-setting correspondence (other lengthy letters throughout are presented in similarly hard-to-read typefaces). The few who reach Victor Frankenstein’s narrative will find it—lightly pruned and, in places, translated into sequences of largely wordless panels—in blocks of varied length interspersed amid sheaves of cramped illustrations with, overall, a sickly, greenish-yellow cast. The latter feature spidery, often skeletal figures that barrel over rough landscapes in rococo, steampunk-style vehicles when not assuming melodramatic poses. Though the rarely seen monster is a properly hard-to-resolve jumble of massive rage and lank hair, Dr. Frankenstein looks like a decayed Lyle Lovett with high cheekbones and an errant, outsized quiff. His doomed bride, Elizabeth, sports a white lock à la Elsa Lanchester, and decorative grotesqueries range from arrangements of bones and skull-faced flowers to bunnies and clownish caricatures.

Grimly plainly worked hard, but, as the title indicates, the result serves his own artistic vision more than Mary Shelley’s. (Graphic classic. 14 & up)

Pub Date: Aug. 27, 2013

ISBN: 978-0-06-186297-7

Page Count: 208

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: July 3, 2013

Kirkus Reviews Issue: July 15, 2013

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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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