A searing take on sexuality better suited to an adult audience.

LOOK

A Los Angeles private school student and social media it girl discovers feminism and queerness.

Lulu Shapiro has 10,000 followers on Flash, a Snapchat-like platform, thanks to a scandalous video that was never supposed to go public. She embraces her quasi-fame, giving the followers what they want with sexy snaps of her life while keeping a wall up around her closest IRL friends. When Lulu meets Cass, a fellow private school girl who’s adjusting to her family’s recent wealth, she finds herself drawn to the pretty redhead as well as to Cass’ best friend, Ryan Riggs, an up-and-coming teen real estate scion whose older brother dropped out of high school to found Flash. Lulu and Cass develop a friendship that quickly becomes more at The Hotel, a Riggs family building where phones are not allowed. But just as Lulu, who previously only kissed girls at parties, wonders if she is ready for more, Ryan reveals a nasty surprise that has Lulu questioning the implications of a life lived online and the possessive nature of the male gaze. Romanoff’s (Grace and the Fever, 2017, etc.) writing is compelling and her subject matter timely, but the novel’s arch, jaded voice doesn’t quite ring true for its teen characters, sophisticated as they are. Lulu is white and Jewish, and Cass and Ryan are cued as white; there is ethnic diversity in secondary characters.

A searing take on sexuality better suited to an adult audience. (Fiction. 14-adult)

Pub Date: March 31, 2020

ISBN: 978-0-5255-5426-4

Page Count: 368

Publisher: Dial Books

Review Posted Online: Dec. 22, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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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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