A creepily atmospheric YA paranormal chiller which draws much of its menace from its setting in a tiny tight-knit community in the wilds of Alaska during the long winter when there are few hours of daylight. Corey returns to Lost Creek, “an almost all-white conservative town with little room for wayward girls,” for the funeral of Kyra, her troubled best friend and almost immediately realizes it was a suicide not an accident. Corey becomes increasingly troubled by the town inhabitants’ attitude towards Kyra in both life and death and, even though she herself left only a few months ago, their closing against her as an “outsider.” This is interspersed with flashbacks to the previous two years during which Kyra’s alternate manic episodes and depressions had become increasingly severe. Niekamp (This Is Where It Ends, 2016) draws nuanced portraits of both bipolar Kyra, looking only for acceptance of herself as she is, and Corey, convincingly conflicted between being there for her friend and craving normality. Some interesting sub-plots around sexuality are undeveloped and the novel occasionally breaks into a screenplay format for no apparent reason. Nonetheless, this will appeal to teens who enjoy magical realism with a side of eerie. Reviewed from an ARC.
After their families are gunned down by a drug gang, four teens attempt to cross the Sonoran Desert from Mexico into the US in this intense but flawed YA novel.
Characterization is thin but serviceable: Pato is the thoughtful narrator, his cousin and best friend Arbo is dependable, Marcos is a tough guy and his independent sister, Gladys, is Pato’s somewhat perfunctory love interest.
The trek, which forms the bulk of the narrative, is grueling as the teens run out of water in the intense heat and have run-ins with both human and animal predators, all the while having little idea what they will face if they make it to the US.
Debut author Schafer’s note details his research and he successfully puts a human face on undocumented immigration, but he has also unfortunately focused on all the negative stereotypes of Mexico: drug cartels, corruption, and “illegal passage”. Spanish is mostly used for cursing.
While it is important for American teen readers to have more context to aid understanding of what drives immigrants, the novel does both readers and immigrants a disservice by focusing on this “single story.” Reviewed from an ARC.
This first in the DC Icons series, which pairs superheroes with high profile authors, is a stirring action-packed origin story for Diana Prince aka Wonder Woman (though that name is never used in the novel except for the title) that will appeal to both existing fans and novices.
Amazonian princess Diana wants to prove herself to her mother Hippolyta but succeeds only in bringing trouble to their home island of Themyscira when she rescues a young mortal woman, brown skinned Alia, from a shipwreck. But Alia is a Warbringer, so Diana sets out with her to rid her of this cursed power.
Initially slow and rather wordy, the pace picks up once Diana and Alia are back in the “World of Man” and Diana experiences modern life for the first time and they embark on their quest battling those, both mortal and immortal, who don’t want them to succeed.
Told alternately from Diana’s and Alia’s points of view, the reader gets to see their similarities as children of great people who have tried to keep them safe by pushing them to the background, and they both have guts, grit, and integrity as they battle on. Their companions and comic relief, dark brown skinned Theo and Indian American Nim, also show true heroism and ingenuity when called upon. This being a YA novel, there is a hint of romance as Diana and Alia’s brother, Jason, spar for the right to protect her. The story is complete, but readers are likely to want further girl power sequels.
With recent interest in this superhero and with a cast of multicultural characters, this is a must have title for all libraries with YA readers. Next up in the series is Batman: Nightwalker by Marie Lu in January 2018.
Reviewed from an ARC
Matt and Tabby have been friends forever, but as they start high school Matt is hiding that he is in love with her, though she does not reciprocate. In fact, she starts dating handsome senior Luke, star athlete and all round nice guy so Matt puts himself in a self-imposed competition with Luke both for Tabby and on the basketball court. When a tragedy strikes, Matt goes off the emotional rails.
Debut author Reck is following a well-trodden path for his first novel (in fact, Kirkus notes many similarities with John Green’s Waiting for Alaska), and up until the tragedy occurs, while I was happy to read the engagingly written book, I was not finding anything out of the ordinary. It is only when Matt is plunged into grief that the book moves tentatively out of the ‘so what?’ zone. Reck has written with authority and insight into the anger that can be part of grieving; Matt is a mess but is powerless to change, though ultimately, with the intervention of his eccentric grandfather and his inspirational English teacher, Matt moves towards a gradual resolution.
Matt’s narration gives the novel some character and the stylistic devices add a nice layer of trimming – Matt views things as though he’s directing a movie of his life and he makes some smart comments on modern romantic movie tropes. However, the other, all white, characters are largely undeveloped stereotypes.
So not a lot to see here, but YA fans of sad stories might enjoy it.
Reviewed from an ARC.
I loved both e. lockhart’s previous novels The Disreputable History of Frankie Landau-Banks (2009) and We Were Liars (2014), (though I read them both before I began blogging so no reviews to link to) so I was thrilled to receive a review copy of her latest, Genuine Fraud and I LOVED this one too!
Jule West Williams is the enigma at the heart of this riveting thriller that opens with the police tracking her down in Mexico and then moves backward to peel away the layers of how Jule got there.
She is an amoral heroine who likens herself to Jason Bourne, James Bond, and “a lone vigilante, a superhero in repose.” Though she is opportunistic, a fluent liar, and without scruples, Jule is still a somewhat sympathetic character, though she herself would not care too much about that. Her identity is fluid, both in terms of the disguises she dons and more deeply: “She could feel the stories she told herself and the stories she told others shifting around, overlapping, changing shades.” The supporting characters are much less developed because Jule only sees others in relation to herself and what they can do for her.
The narrative is driven by the mystery of who Jule really is and what she has done and lockhart acknowledges its debt to Patricia Highsmith’s The Talented Mr Ripley. The prose is hardboiled, cool, and a little detached and overtly conjures up modern day movie tropes as well as using more subtle imagery of femme fatales from film noir.
The author plays with gender stereotypes showing Jule taking advantage of the assumption that “small, cute women were harmless” as she happily acknowledges that “to be a physically powerful women – it was something. You could go anywhere, do anything, if you were difficult to hurt.” The only chink in her armor is when she starts to fall for Paolo, but she has already booby trapped that relationship before it even starts.
At the end, Jule is triumphant: “I am the center of the story now… I don’t have to weigh very little, wear very little, or have my teeth fixed.” Ideal for teen readers who don’t want soft and cuddly and who appreciate a young woman who has no hesitation in grabbing what she wants.
Reviewed from an ARC.
10-year old Sandra and her family were in a refugee camp in Burundi when it was attacked and 166 refugees were murdered, including Sandra’s six-year old sister Deborah. Over the next ten years, as Sandra’s family moved to Rwanda and then the USA, they never discussed this loss or shared their feelings on the massacre and it was only when Sandra had a breakdown in her sophomore year at college that they finally open up.
With a brief overview of how colonialism left her tribe, the Banyamulenge, stateless and “always in limbo”, Sandra matter of factly describes her early life in the Democratic Republic of Congo where “war was part of our everyday life.” In a very tense scene, her family escapes from the DRC when ethnic conflict bubbles over, only to end up in an empty field in Gatumba in Burundi where the UNHCR builds a refugee camp. Following the massacre, the family moves to Rwanda where they live in desperate poverty until getting the “golden ticket” to go to America,
But their arrival in the USA is not the happy end of the story that the family (and possibly the reader) assumed. Though the threat of ethnic slaughter is removed, the family faces hostility and indifference to their struggles. Even Sandra’s thirst for education is dampened by the lack of understanding she faces in school. Her frustration at people’s ignorance of Africa and the plight of refugees pushes her to tell her family’s story to increasingly large and high profile meetings and conferences, and her advocacy gives her life a focus.
The workmanlike, though unsophisticated, prose conveys Sandra’s despair, confusion and outrage, and then her later passion for her cause. Sandra’s feeling of being an outsider wherever she is comes across strongly, particularly when she describes being unable to relate to her classmates in her US middle and high schools where “your skin color defines you.”
There is a small collection of photographs of survivors of the massacre and their stories, as well as some joyful family scenes of graduations, weddings, and trips back to Africa. One heartbreaking fuzzy image is the only photo left of Deborah – the family’s album was lost in Gatumba.
Sandra comes to realize that Americans are not uncaring, “they just didn’t know our story.” Her quest to show that refugees, are just like them “with hobbies and dreams and talents” is continued in this memoir, which will give teen readers a timely and accessible insight into the human face of refugees.
I was really enjoying this imaginative and gripping scifi horror thriller, but then I started to get this little niggle: there wasn’t much left to read and there seemed a fair bit of plot to squeeze in. And then, oh crap, I realized it’s the first book in a series. Why, why, why? It felt like another 50 pages would have been quite sufficient to tie up all the ends and give us a satisfying resolution. But, oh no, Ms Plum, who has written other series, wants to keep it going. Still, on the basis of reviewing what’s in front of me and not what I wish it was, here goes….
After an experimental treatment for severe insomnia goes wrong, seven teens are stuck together in a place they call Dreamfall, which throws them alternately between one of their nightmares and a white waiting room-like void. The nightmares are various degrees of chilling and originality, including monsters, clowns, and zombie monks, and the author ratchets up the tension as the teens race to get out of each nightmare and back to the Void.
The Dreamfall teens are mixed in age, ethnicity and social class and two of them, 16 year old Catalina and 18 year old Fergus narrate these sections. Initially it’s all a bit of a jumble with seven characters, but they do gradually shake out into at least two-dimensions. A third narrator, Jaime, is a medical student who was observing the treatment in the lab and this allows the reader to see the doctors’ reactions, improbable as they sometimes are, as well as allowing us to peek at the subjects’ files and find out the differing reasons for their insomnia.
The plot rattles along at a breakneck pace, only to come to an abrupt cliff-hangerish sort of ending. No real resolution is reached, just further twists thrown in along with a bunch of other loose ends. It’s not clear where the author is going to take this, or if this is going to be a trilogy or duology. For my money, this should have been a one and done, but teens who like series may disagree.