A touching portrait of healing after loss.

SING LIKE NO ONE'S LISTENING

Nettie is a singer—although she currently can’t produce a single note.

Despite a disastrous audition, Nettie is accepted by the prestigious Duke’s Academy of Performing Arts in London’s West End. Her famous mother, who trained there as a ballerina, passed away suddenly a year ago, leaving Nettie’s emotions raw. After a horrendous first day that includes bullying from an older student and cruel public abuse from an elder ballet teacher, she stops in an empty studio, where she surprises herself by being able to sing a song her mother liked. Then she realizes she’s not alone; someone’s playing piano, hidden by a partition. Shocked, Nettie runs out, leaving the identity of her accompanist a mystery. As she settles in, Nettie collects a dramatic group of friends, including two gay boys and a bi-curious girl who struggles with body issues and disordered eating; Nettie does her best to support her. Getting to know an attractive guitar player and private voice lessons that help her work through her psychological triggers take up the rest of Nettie’s time. Anglophiles, music and theater nerds, and those looking for some classic will-they-won’t-they romance will all find something to enjoy here. Jones writes her subject matter authentically, with obvious passion to balance the professional arts’ not-so-pretty struggles. Most characters are white although there is some ethnic diversity in the cast.

A touching portrait of healing after loss. (Fiction. 14-18)

Pub Date: Sept. 1, 2020

ISBN: 978-1-68263-194-2

Page Count: 312

Publisher: Peachtree

Review Posted Online: June 15, 2020

Kirkus Reviews Issue: July 1, 2020

Did you like this book?

No Comments Yet

This story is necessary. This story is important.

Reader Votes

  • Readers Vote
  • 23

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2017

  • Kirkus Prize
  • Kirkus Prize
    finalist

  • New York Times Bestseller

  • IndieBound Bestseller

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

Did you like this book?

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

Did you like this book?

No Comments Yet
more