DON'T THINK TWICE

A darkly funny, intensely affecting coming-of-age novel set in a home for unwed mothers in Texas, 1967. Anne, 17, is an intelligent young woman, swept away by first love for the baby's father, a love that is not requited. In her first weeks at the home, hers is an unfocused anger: ``I read A Streetcar Named Desire last year,'' she tells readers in the first-person, present-tense narrative, ``because the school district banned it and I wanted to stick up for the Constitution.'' At the novel's end, she has matured from such childish rebellion to adulthood, and can play hardball when she must, refusing to sign adoption papers until she's allowed to hold her newborn. The ``happy'' resolution Anne wanted initially isn't possible—she can't give birth and jettison all memory of the baby—but another, more courageous, outcome is. Anne has broken through to a larger reality than her peers or family can envision; readers will know that she is a survivor who is tough yet capable of tenderness and humor, and they will love her. Pennebaker's masterful first novel depicts a time when to be pregnant and unmarried was to be ostracized, but it makes Anne's concerns no less applicable today; the strength and truthfulness of all the characterizations as well as the scope of their issues give this debut a resounding timeliness. (Fiction. 12+)

Pub Date: April 1, 1996

ISBN: 0-8050-4407-8

Page Count: 258

Publisher: Henry Holt

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: March 15, 1996

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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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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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