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I Hope This Finds You Well

Written By Kate Baer

“None of this is okay. But it’s not real. So it’s okay” -Kelly Link

Genre or category

Poetry

Target Age Group

Adult

Summary

Evaluation

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Wedding People

Written by Alison Espach

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Genre or category

Romance

Target Age Group

Adult

Summary

Evaluation

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When in Rome

Written by Sarah Adams

“I’m pudding in her hands, Spineless, melted, wobbly, pointless pudding” -Sarah Adams

Genre or category

Romance

Target Age Group

Adult

Summary

Evaluation

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Parallel

Written and Illustrated by Matthias Lehmann

Translated by Ivanka Hahnenberger

“I’d like to explain myself.... that’s why I am asking you to please come and see me” - Matthias Lehmann

Genre or category

Historical Fiction + Graphic Novel

Target Age Group

Adult

Summary

Evaluation

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The Cold Dish

Written by Craig Johnson

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Genre or category

Western

Target Age Group

Adult

Summary

Evaluation

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Yellowface

Written by R. F. Kuang

“ It’s hard, after all, to be friends with someone who outshines you at every turn” - R. F. Kuang

Genre or category

Contemporary + Underrepresented Author

Target Age Group

Adult

Summary

Evaluation

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Mr. Penumbra's 24-Hour Bookstore

Written by Robin Sloan

“I’m really starting to think the whole world is just a patchwork quilt of crazy little cults, all with their own secret spaces, their own records, their own rules” - Robin Sloan

Genre or category

Mystery

Target Age Group

Adult

Summary

There is something not quite normal about Mr. Penumbra's 24-Hour Bookstore. It is stocked with thousands of books that no one has ever heard of and the only patrons seem to be members of an elusive borrowers club. When Clay, the new night clerk, accidently solves an initiation puzzle he sets off a chain of events that will change Mr. Penumbra and his secret society forever.

Evaluation

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Get In Trouble

Written by Kelly Link

“None of this is okay. But it’s not real. So it’s okay” -Kelly Link

Genre or category

Fantasy + Short Stories

Target Age Group

Adult

Summary

Get In Trouble is a collection of short stories that take reality and give it the slightest bend. The uncanny valley setting of each story serves only as a backdrop to explore the complexities of human nature.

Evaluation

If Literary Fiction is meant to challenge the reader, Kelly Link’s Get in Trouble fits the bill perfectly. Each short story allows by Link and the reader to experiment with new ways of narration, from long form letter, second person narration, to non linear timelines. The meaning and plot behind a story might be ambiguous or left hanging, but the writing makes the reading experience a joy. As with all collections of short stories, some pieces hit harder than most; standouts include “The Valley of Girls”, “Secret Identity”, and “Summer People”. Though this collection can be categorized as fantasy, it lacks the detailed world-building that might attract Fantasy lovers. Instead this book would make a solid read for fans of Ray Bradbury or atmospheric horror.

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We'll Prescribe You A Cat

Written by Syou Ishida

Translated by E. Madison Shimoda

“‘You know the old saying: A cat a day keeps the doctor away. Cats are more effective than any other medicine out there’ ” -Syou Ishida

Genre or category

Fantasy + International

Target Age Group

Adult

Summary

Nakagyō Kokoro Clinic for the Soul is always open for those that need it. As patients arrive with their own personal troubles, they find that perhaps the key to changing their life is a cat.

Evaluation

While Syou Ishida’s work reveals itself it be tinged with magical realism, each short story creates a sum work of art that eclipses genre. Each story explores the complexities of a struggle individual and the life that has lead them to Nakagyo Clinic for the Soul. While the pacing of the book can be slow in places to explore emotions and insights, the short story format allows readers to feel many small successes that pushes them through the novel. While profound in nature, this Literary Fiction books is humorous and hopeful. Fans of this book should add What You All Looking For Is In The Library to their list to read more therapeutic prose on the power of small moments.

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Crossings

Written by Katy S. Duffield 

Illustrated by Mike Orodan

Genre or category

Informational

Target Age Group

4-8 years; Pre-K-3rd

Summary

Crossings tells the stories of man made structures that solve the problems of animal travel in urbanized areas

Justification

I first saw this book at a library conference during a session highlighting stand out books published in Arkansas. Immediately I wanted to read it not only for its interesting premise and beautiful pictures, but the educational possibilities that could be built on it. For a year I taught STEM to elementary students and this book really hit that part of me. Students would love to solve this real life problem while teachers will appreciate the practice of the engineering design process. Early Childhood teachers can use this book to help students under positional words and older elementary teachers can use it to highlight the importance of prepositions. Most importantly, this book draws in readers because it is relatable. Most readers will have some experience with the problems of animals crossing busy roads and this book offers a unique perspective on how humans can fix it. 

Evaluation

For this review, I will be evaluating the repetitious language, accuracy and detail, and the choice to use illustrations instead of photos. 

Language

Crossings is of interest to a wide range of ages due to its universally loved subject matter. Author Katy Duffield helps to make this book accessible to younger audiences by introducing a pattern in her prose. Early on she establishes the repetition of “Over, under, across, through” (Duffield, 2020, p.1). Then she continues this pattern by introducing structures that go over, under, across, and through in that order while highlighting the preposition used. This pattern repeats through the 12 structures that she shows. This predictability helps to engage younger readers by giving them a structure they can rely on. Young readers will know what to expect from each section of the book and can focus their energy on enjoying the story. It also allows them to feel participatory in telling of the story as they accurately predict what comes next. In doing this, Duffield makes Crossings an information book that even the youngest of readers can follow and enjoy. 

Accuracy and Detail

Crossings is classed as a non-fiction book, therefore it is important that all the information in the book is accurately and clearly given. What is impressive about Crossings is that Duffield maintains her accuracy and satisfying level of detail while considering both her younger and older audiences. For younger readers, Duffield provides accuracy, though slightly vague information about each structure– “Black bear cubs follow mama UNDER a Montana highway” (p.30). Pre-K readers will get the gist of the information in a quick and predictable format. For older readers, Duffield includes more detailed explanations of the structures to give a more accurate picture of the what, where, and why and how’s of each structure. These extra facts are presented on the same page as the simpler prose as a supplement. Duffield also includes facts in the back of her book and information for further reading for readers as old as middle school and high school. 

(an example of both the simpler and more detailed text)

Illustrations

When creating a nonfiction picture book there comes the choice to decide how to present the pictures– as photos or illustrations. Crossings chose to use colored pencil drawing done by illustrator Mike Orodan. This choice makes the book a more interesting and dynamic read. While there are photos of each featured structure available, action shots of animals using these structures are harder to come by in some instances. The salamander passages in North Amherst are too small and dark to photograph in an exciting way. Orodan solves this problem by illustrating the structures instead, allowing him to capture scenes that would be unavailable to a camera. Readers get to experience close up pictures of the structures as they are being used by the animals from angles that would not otherwise be possible. The illustration better allows readers to understand how each structure functions as they see pictures of animals using it in various ways and stages. The illustrations also shift the perspective of the image to the viewpoint of the animals involved. This creates the illusion of readers getting to use the structures with the animals. Orodan’s work is what elevates this nonfiction book past solely informational and into entertaining.  

References

Duffield, K.S. (2020). Crossings (M. Orodan, Illus.). Beach Lane Books.

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Belladonna

Written by Adalyn Grace

Genre or category

Fantasy

Target Age Group

14-18 years

Summary

Signa Farrow is followed by death, despite the fact that she can not die. It seems that everywhere she goes, people meet an unfortunate end. When Signa is sent to live with her uncle’s family at Hawthorne Manor, she worries that she will bring death with her. Signa must dive deep into the Hawthorne family to prevent the unthinkable, and she may need the help of death himself to do it. 

Justification

Belladonna was nominated for a Teen Choice award in my state and the series as a whole is impossible to keep on the shelves at my library. Romantasy has once again become the star of YA literature. I myself am a fan of romantasy, though my experience is more rooted in the adult level books. I wanted to see how the teen interpretation of the genre was presented and why it had such an appeal right now. Belladonna is a strong example of the romatasy genre as well as the popular gothic subgenre, and one that has won quite a few audience chosen awards. It is a good introduction to the slightly darker side of romantasy and would be beneficial for all adults who work with teen readers to try. It holds to hallmarks of the genre while still being fleshed out and unique. 

Evaluation

For this review, I will be evaluating the dynamic supporting characters, the weaknesses of the resolution and the resolution’s many strengths. 

Supporting Characters

While Signa and Death make interesting and effective main characters, I could not help but be drawn to author Adalyn Grace’s strength in creating supporting characters that make the world of the book feel complete. Each of the supporting characters is given a multifaceted personality that Signa gets to explore or a moment of growth that she gets to witness. For example, Blythe, while not appearing in many scenes and spending the whole story in her room, is given a well rounded personality that makes readers care about her when she is not around. Signa’s first impression of Blythe is cold and hostile. However, as the book progresses Signa begins to discover humor, strength, confidence and love in her character. Blythe becomes a fully fleshed out character instead of an archetype. Similarly, the character of Elijah is at first presented as the archetypal drunk and neglectful father. He causes a great deal of the problems in the early stages of the book. However, despite being a secondary character, his character growth is one of the most profound in the story. Grace gives the audience small scenes between Signa and Elijah that peer into the deeper level of his hurt. Readers follow Elijah on his journey of accepting grief and reentering his children’s lives. By creating such dynamic supporting characters, the reader feels depth in every scene of the story; none of the scenes feel like filler or fluff. Readers are invested in the lives of each character whether they find that character agreeable or not. 

Resolution Weaknesses

Belladonna has a few storylines running throughout the book that need to be tied up in an average length YA novel (400 pages). While many of the storylines are given clear and satisfying endings, there was one that weakened the overall resolution. The mystery of who is poisoning the Hawthorne family is why it is the most prominent of the storylines and drives the plot forward. Grace does tie up this storyline completely, but it felt a bit contrived. While readers can reasonably believe that Percy is the villain of the story, the reasons that he gives for some of his actions don’t seem to fit into the character and plot that Grace had built. What is missing was little hits along the way that readers could only see in hindsight. Instead Percy must explain every step of his actions and reasoning to readers, leaving the ending seeming, in my opinion, a little forced. Grace’s decision to make Percy the antagonist had the potential to be strong but was missing some explicit support throughout the book. It felt slightly incomplete.

Resolution Strengths

While I did find the resolution to the mystery element of the story a little unsatisfying, Belladonna has other aspects of its ending that filled in those gaps. Perhaps the strongest element of the resolution is the ending of Signa’s journey in embracing her role as Reaper and her deathly powers. Much of the emotional struggle of the book revolves around Signa struggling to find her place in society as well as come to terms with the fact that she is an agent of Death himself. Grace allows readers to follow Signa’s inner journey of fear to curiosity to apprehension to acceptance. Signa’s ultimate embrace of her powers and role in the final chapters don’t spring out of nowhere, but are grown from the first chapters. Readers are left feeling they have completed the journey along with Signa to a realistic conclusion. Another strength of the resolution is the ability of the book to stand alone despite starting a series. Readers feel like the plot of Belladonna is complete and given a satisfactory conclusion. A trend I have found in fantasy series is the first book setting up the story for the rest of the series without having much of a completed plotline of its own. Belladonna does not fall into this trend. All the storylines are given an end and the reader is not left feeling like they read the first half of a book instead of a whole book. Readers could, theoretically, read Belladonna as a stand alone book and only continue the series if they are intrigued. The epilogue sets up the plot for the next book while leaving the reader feeling that they must read the sequel to have a conclusion to the first book.  

References

Grace, A. (2022). Belladonna. Little, Brown and Company.

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Scary Stories for Young Foxes

Scary Stories for Young Foxes

Written and read by Christian McKay

Genre or category

Horror

Target Age Group

8-12 years

Summary

Seven fox kits wander into the forest at night to find the Storyteller and her chilling tales. The Storyteller weaves the tale of Uly and Mia's survival against unknown horrors as each of the young kits runoff scared. Will any of the kits remain to hear the end of the story?

Justification

Scary Stories for Young Foxes is a favorite among young readers. They are drawn to the suspense and unknown of the horror genre. Even reluctant horror readers (myself includes) are given an entry point to the story through its like of supernatural elements and distance of the fox characters from themselves as humans. The horror genre is certainly not everybody's cup of tea, but Scary Stories for Young Foxes has enough cross genre pull that it draws a wide audience. It draws on something that young readers are familiar with and engage in every day: storytelling. This book helps readers to understand the importance of storytelling and passing on the past. Adults and teachers have rich material to encourage their young readers to think beyond the material without dryness of seriousness that often comes with didactic books. 

Evaluation

For this review, I will be evaluating the story structure, suspense, and the subtle didacticism 

Story Structure

Scary Stories for Young Foxes has a unique story structure that sets it up for success. The bulk of the story is told as though it is multiple short stories with small passages about the listening foxes in between. In doing so, Author Christian McKay Heidicker mimics what is perhaps the popular form of horror– the campfire stories. In doing so, Heidicker gives the impression of oral tradition. It adds to the scary mood by creating an association in the reader’s mind with an event that they already identify as spooky and suspenseful.  It also allows for longer pauses between cliffhanger chapters, leaving readers feeling uneasy as they proceed into the next chapter and denying them immediate closure. Perhaps the most effective use of this technique occurs after the first of the short stories. Heidicker ends the tale just as one fox is about to be attacked by his rabies infected brother. Readers are left hanging as to whether the fox is attacked, throwing them off balance and making them feel uneasy as the story moves on to focus on new characters and events. This foxes storyline is not followed up on until the final story which allows readers to carry the suspense and tension with them through the entirety of the book. 

Suspense

As previously mentioned, Heidicker builds suspense into his story in the format that he chose to present the book in. This is only one of many ways he creates tension in his book. Perhaps the most effective way he adds suspense into the story is his meticulously chosen descriptions of the horrors. Heidicker faces his characters off against true to life horrors that foxes might face: rabies, alligators, territorial males, hunting traps, and taxidermists. However, he purposefully describes these antagonists with vagueness and misunderstanding. Rabies is referred to as The Yellow, alligators are a Golgathursh, and taxidermists steal a foxes essence through drawings, trapping them in a water color world. For readers unfamiliar with some of these concepts, the tension is built in the unknown. For readers who understand the truth behind the horrors, the tension comes from reframing and purposeful misunderstanding of the challenges. Readers familiar with rabies might not be frightened of its appearance when referred to by name, but when it is called the Yellow and given an outsider perspective, it becomes something terrifying. 

Didacticism and Moral

Scary Stories for Young Foxes is a story about growing up, becoming brave, and finding a family. These themes are woven through every chapter and short story. However, the final chapter, following the storyteller after the story is over, introduces a new message that helps to reframe the entire book. In the final pages, the storyteller reflects on why she has told the young foxes these scary stories as she watches the forest they live in once again change and become more hostile. Readers are left with the impression that the previous stories were told not just to scare and entertain the audience, but as a way of providing a map for dealing with the unknown. The author subtly encourages readers to value the stories that are told to them and use them as a tool when facing their own horrors. This new message puts the readers’ experience reading the book into a new light and leaves them to ponder the importance of storytelling. Readers will be left thinking about this new development and lesson long after the book finishes, making Scary Stories for Young Foxes a stand out among the horror genre that often exists to merely frighten.

References

Heidicker, C. M.  (2019). Scary stories for young foxes. Henry Holt and Company.

Heidicker,C.M. (2020). Scary stories for young foxes. (C.M. Heidicker, Narr.) [audiobook]. Recorded Books.

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Just Ask!

Written by Sonia Sotomayor

Illustrated by Rafael Lopez

Genre or category

Difference or Disability (Schneider Family Award Winner 2020) 

Target Age Group

4-7 years ; Pre-K-3rd grade

Summary

Sonia, the author and narrator of the book, introduces readers to her friends and the different abilities and disabilities they have. Together they come together to plant a garden.

Justification

This book approaches disability from a position that I didn’t find common when I was growing up. I was taught not to  stare at people who were different and to especially not bring it up in conversation. Sotomayor instead encourages children to ask when they see something they don’t understand and then models asking respectful and diverse questions. It would be impossible to cover every type of difference and disability in a children’s book, so Sotomayor instead teaches how to navigate conversations that will be useful for any situation. 

Evaluation

For this review, I will be evaluating the word choice, accuracy, and illustrations. 

Word Choice

In Children’s Literature Briefly, Young et al. discuss the importance of using natural and rich vocabulary in stories for children (2020). This is especially important in books that are meant to teach children new concepts such as Just Ask! by Sonia Sotomayor. In a book that serves the purpose of introducing medical conditions and learning disabilities, accuracy of language means  normalizing and empowering the reader. Sotomayor does not talk down to readers or hide information in easier-to-understand-verbiage. Key words such as insulin, inhaler, stutter, Tourette's, and chromosome are casually used throughout the story, giving readers words they can comfortably use in the future. Each new technical term is introduced with enough context to allow young readers to infer meaning or are presented with a more familiar synonym (insulin/medicine, chromosomes/building blocks). In Sotomayor's own words, this was written to empower young children to speak openly about differences and her use of precise language allows the book to effectively do this. 

Accuracy

While Just Ask! is not considered a non-fiction book, it covers a wide range of real life experiences. Accurately and diversely  portraying the disabilities in the story is what makes this book particularly strong in this category. Sotomayor stays away from showing one experience 

Shared among the characters. Instead, she portrays each character with unique and true to life characteristics. For example, when discussing autism, Sotomayor introduces two characters, one that loves to talk about his favorite things and one who does not speak at all. This sends the message to readers that each of the differences discussed can appear in more than one way. Sotomayor also accurately portrays differences affecting all ethnicities and genders. By doing so, she avoids giving the impression that children exactly like the reader can experience these differences. This sets Just Ask! apart from other books that may cover a single story. 

Illustrations

Just Ask! deals with a subject that can be heavy to discuss, especially for younger readers. It would be easy to make any story that informs about health problems and learning disabilities overly serious and dry. However, illustrator Rafael Lopez injects whimsy and positive energy into the book with his colorful and expressive illustrations. Lopez strays away from using photorealistic coloring in his illustrations, instead using bright, highly saturated colors. In doing so, he gives the narrative a fun and energetic feel to contrast the serious subject matter. Readers will be drawn to the bright greens, blues, and yellows of the illustrations, encouraging them to read further. Lopez creates the same effect with the expressiveness of his art, specifically the children. He uses big expressions and to draw readers in and illustrates each child mid-action, giving the informative prose extra life and movement. Lopez’s illustrations took what could have been a very dry picture book and breathed life and excitement into it, making it stand out among the other informative fiction stories. 

References

Sotomayor, S. (2019). Just ask! (R. Lopez, Illus.). Philomel Books

Young, T., Bryan, G., Jacobs, J. S., & Tunnell, M. O. (2020). Children's Literature, Briefly (7th ed.). Pearson Education (US). https://reader.yuzu.com/books/9780136765974

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Starfish

Written by Lisa Fipps

Genre or category

Novel in Verse

Target Age Group

10+ years*

*Despite having been nominated for a few “teen” awards, most sources consider this a middle grade novel, including Amazon, Penguin Random House, and my own public library. Its serious subject matter makes it relevant and enjoyable for teens, but the age of the main character lands it firmly with other upper elementary novels in verse like Inside Out and Back Again. 

Summary

Ellie lives by the “Fat Girl Rules” she’s created for herself since she was called a whale at her 5th birthday party. With the help of her dad, her new friend, and her therapist she learns to defend herself from bullies, her mother, and even herself.

Justification

Starfish is another book I chose because it has won an Arkansas Teen Choice Award in the younger age category. Middle grade readers have proven their love for it, and after reading it, I can see why. Starfish deals with the way that society views bigger people and the way that they have been taught to view themselves. Author Lisa Fipps holds back no punches when addressing a topic that often isn’t brought up until high school, if it's brought up at all. Fipps writes in her author’s note that her hope for Starfish is that it changes people’s attitudes surrounding weight, and this book definitely has the potential to speak to both children who are heavier and children who are not and don’t know how to make sense of it. 

Evaluation

For this review, I will be evaluating the authenticity of the narrative, relatable writing, and the use of an overarching metaphor.

Authenticity

When tackling such a relevant and under addressed issue as weight in elementary and middle school, it is important that the books available portray an authenticity experience instead of a sugarcoated or cartoonish experience. Fipps writing will find a truth in almost anyone, regardless of their experience. Many of the events of Starfish read like a horror book, and the blows seem to come one after another. For some readers, Ellie’s experience will match directly with their own, especially the story arc surrounding the outside bullying and judgment. For them, this aspect of the story will feel authentic. For readers whose experiences haven’t been so blatant, they will find themselves identifying with the internal bullying Ellie does to herself and the creation of the “Fat Girl Rules”. By writing about both of Ellie’s battles, Fipps touches on the experience of every child who has dealt with issues surrounding weight. Even readers who have not experienced weight-related struggles find their experience reflected in both Catalina and Enemy Number 3’s storylines. Readers relating to those experiences watch as these characters' struggles are related to and mirrored by Ellie’s, giving them an insightful and authentic experience. 

Relatable Writing

I often find that novels that are hoping to find a permanent place in core youth literature often shy away from making modern references and current jokes in an effort to stay relatable to not just the current generation, but the generations to come. There is certainly some wisdom in that; I have many youth novels that make too on-the-nose references that come across as cringe-worthy meaningless only a year after they were published. Fipps however makes the bold choice to reference quite a few modern pieces of media and culture. References to popular franchises like The Hunger Games, Star Wars, and Charlie in the Chocolate Factory are sprinkled throughout as well as including text conversations. The reason for Fipp’s success at including these elements where others have failed lies in the broadness of the references and modern language. Fipps steers clear from trying to impress young readers with her extensive knowledge of tween culture, therefore coming off aggressive and niche. Instead she sticks to general references to pop culture that give readers a touchstone, but allow them to fill in the details themselves. In doing so, Fipps keeps her writing highly relatable to today’s tweens without sacrificing its future relatability. 

Metaphor

The book Starfish is named after and built around Fipps' metaphor of a starfish taking up space. Readers first are introduced to this idea in the title and cover art of the book, priming them to pick up on starfish related details. Fipps then weavers the starfish metaphor throughout the prose, often using it to cap off chapters. The metaphor is not belabored; Ellie never says “I am like a starfish because…” and spoon feeds the information to readers. Instead, Fipps casually references the metaphor and then continues to return back to it as the reader learns more information. With each mention, readers are able to piece together a little more about the ways that Ellie is a starfish. Fipps guides them to the realizations without shoving it in their faces. Reading and writing teachers could certainly get multiple lessons on metaphors about this one from the book. Fipps keeps it relevant throughout the whole story but doesn’t say so much that there is nothing left to be said. Other clever metaphors are dropped in the story, but this larger, consistent metaphor is the anchor of the story. 

References

Fipps, L. (2021). Starfish. Nancy Paulsen Books.

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Heartstopper Vol 1

Written and Illustrated by Alice Oseman

Genre or category

LGBTQA+ 

Target Age Group

13+ years

Summary

Openly gay Charlie thinks he might be falling in love with his new, probably straight, best friend Nick. He knows he needs to get a grip on himself or risk losing his friend, but he can’t be imagining the way Nick seems to be more affectionate with him. Told in vignettes over the months, Nick and Charlie navigate a treasured but confusing relationship.

Justification

I have been meaning to read Heartstopper for a while, but what convinced me to finally pick it up was actually its 4th volume. Heartstopper Vol 4 was nominated for an Arkansas Teen Choice award this year, and I realized I needed to be more familiar with what the teens coming to my sections were loving. I obviously could not jump into volume 4,  so I went back and started with 1. Choosing Heartstopper was another step in my quest to read all of the Arkansas Teen Choice nominees for the 23-24 award cycle. Even without an award, it is very clear to anyone who is paying attention to youth literature that teens love this series. Alice Oseman has tapped into a vein in what teens are looking to read about, and it is important to recognize and learn from what this popular book series is telling librarians about YA reading habits and trends. 

Evaluation

For this review, I will be evaluating the ending, the characters, and the format.

Ending

The difference between what might make a quality novel versus what makes one that teens want to read is perfectly encapsulated in the ending of Heartstopper Vol 1. Typically books that receive praise for their literary quality have endings that wrap up their stories in a satisfactory way. Cliffhangers, to some, are considered a cheap tactic. However, given the phenomenal reception of Heartstopper Vol 1, Alice Oseman shows us that teen readers are drawn to these cut-off endings. Oseman ends her first volume immediately after Charlie kisses Nick and Nick runs off. Readers are left wondering why Nick leaves and what this means for the future of their friendship. Oseman does not even add a buffer scene that lowers the tension before ending her graphic novel. The last panels of the story show Charlie crying, sliding down the wall, whispering that he is sorry. Oseman cuts her story at the height of its plot. This is clearly an effective technique for teens and it created a lot of anticipation for the sequel. Again, this is a method that is not always looked at fondly, but Oseman uses it to her advantage. Readers are left with the sight of Charlie heartbroken and creating theories of their own. 

Characters

The characters that Oseman creates are some of the strongest parts of her graphic novel. Oseman is writing about a group of people who are frequently stereotyped for comedic effect or are sexualized to garner attention. Instead of leaning into these harmful LGBTQA+ portrayals, Oseman makes an effort to portray each of her characters as fully-rounded people. Charlie is naturally athletic, Nick is a jock, and they both have conversations about everyday topics like friendships, bullying, the weather, and parents. Readers, whether they identify as gay or not, are able to project themselves on the characters. All teens relate to annoying friends and learning to separate themselves from who they hang out with. Oseman gives her characters enough depth to create lasting impressions. 

Format

Heartstopper is the book that I chose to read as an ebook, and while it was not my original intention, it replicated the original format of the story– a webcomic. Heartstopper started as a passion project that Alice Oseman was posting for public consumption on websites like tumblr and webtoon. This means that Heartstopper was originally intended to be read digitally, and I was able to recreate that experience. This story was easy to consume in a digital fashion. The illustrations were clearly meant to be viewed on a website; the panels of the story are spaced out with white space prominent between them and within the panels themselves. On paper, this looks ordinary, but on a screen, it gives the appearance of each panel floating on its own against the white screen. The illustrations seem embedded into the screen when viewed on a screen set to light mode. This makes the panels that transition into each other with small doodles look as through they are truly being created from each other. It makes for a great reading experience, and I think the simplicity and integratedness of the panels are a big part of the appeal. 

(An example of panels as seen in the physical book)

(An example of panels as seen digitally)

References

Oseman, A. (2018). Heartstopper vol 1. (A. Oseman, Ilus.). Graphix

Oseman, A (2016). Heartstopper. Tumblr. https://heartstoppercomic.tumblr.com/post/148737198070

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Gallant

Written by V.E. Schwab

Narrated by Julian Rhind-Tutt

Genre or category

Horror

Target Age Group

13-17 years ; 8th-9th grade

Summary

All Olivia Prior has of her mother is a journal of half-mad entries warning her to never go to Gallant. However, it seems that Gallant is the only possibility she has of finding a home, a family, and some answers. Olivia must learn the secrets of Gallant and the immense burden that it has placed on the Prior family to keep the doors between life and death closed. 

Justification

Choosing Gallant was both a continuation of my goal to read all of the Arkansas Teen Choice nominees for the year and also a part of my effort to read outside of my typical genre. Horror is not typically a genre that I pick up naturally, but I have noticed that it is a genre that is checked out frequently in my library. The teens that I work with are all very into the spooky, twistiness of horror books, and I wanted to understand that better. Gallant is somewhat of a middle ground. It’s horror for younger teens and dips its toes into the genre tropes and structure without becoming overly reliant on shock value. I think this book is a good entry point for adults trying to understand the more grim preferences of their teens. 

Evaluation

For this review, I will be evaluating the pacing, the ending, and the audiobook format.

Pacing

The pacing of Gallant was a little odd though it had a major payoff in the end. The beginning of the book, where readers are learning about the characters and setting, lasts for about half the book. Because parts one through three have the meticulous job of setting up the twists and turns at the end, it moves a little slower and can feel detail-heavy in places. Schwab does a wonderful job of cutting through the bogginess of the beginning by including small passages between characters that step out of the building of the plot and straight into the thick of it. Schwab uses both excerpts from Olivia’s mother’s diary and small passages from the point of view of the “Master” to weave chapters together and give the readers enough foreshadowing to keep them reading. The pacing increases tremendously after the first half, and the plot is only successful because it was so carefully crafted in the beginning. While the slowness of the first half could turn away reluctant readers, Schwab did effectively bait the more patient reader with just enough tension to carry them through the awkward pacing. 

Ending

The ending of the story matches perfectly with the tone and genre of Gallant. Gallant lies somewhere between a dark fantasy and a horror book, and while it is interesting has a solemn  and grave undertone to it. The ending, therefore, needed to match the atmosphere that it had created; the ending is not what I would consider satisfying or complete, but that is the point. To end the book with everything saved and perfect would be a disservice to the balance that Schwab establishes in the story. The ending gives the feeling that things are better than before, but only for a while. Teen readers will appreciate the open-endedness of the conclusion and feel a sense of uneasy, temporary resolution that honors the horror genre that Gallant experiments with. The ending would not work in any other book, but it is the only ending that works for this book, and Schwab executed a non-ending masterfully. 

Audiobook Format

This is the book that I chose to listen to as an audiobook, though in total transparency I followed along in the physical book quite a bit in the beginning. In the case of this book, the narration of the audiobook is an excellent supplement to the novel but struggles to perfectly replace the physical copy. While readers, or listeners, can follow the plot of the story through the audiobook version, they do miss out on some key details that make the book unique. For example, the physical book has many illustrations beginning and ending chapters, however, they are not just there to add to the aesthetic. We learn that these drawings are one side of the conversation between two characters, and without viewing the art in the book, listeners only experience one half of the conversation. The line between the present action and the journal entries are also a little blurry without the added visuals of the book. That is not to say that the audiobook does not add something to the story that the novel version does not. The intensity of the narrator’s voice adds heightened tension to the plot and creates an eerie atmosphere that a reader might not create on their own. While the audiobook can stand alone it does not feel as complete and fluid as the physical book does, which is something I normally don’t see in audiobooks. 

References

Schwab, V.E. (2022). Gallant. Greenwillow Books.

Schwab, V.E. (2022). Gallant. (J. Rhind-Tutt, Narr.) [audiobook]. Greenwillow Books.

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Julian Is A Mermaid

Written and Illustrated by Jessica Love

Book Cover Picture

Genre or category

LGBTQA+ (Stonewall Honor Book in Children’s and Young Adult Literature 2019)

Target Age Group

3-6 years

Summary

After seeing mermaids on his way home, Julian knows he is a mermaid too. He just needs to look the part. Good thing his Abuela has an idea.

Justification

Every year around Pride month, a list of children’s books about LGBTQA books appears somewhere on my feed, and every year I see Julian Is A Mermaid. It seems to have become one of the quintessential LGBTQA children’s books and has taken up mythical status similar to Tango Makes Three, so I was surprised to find out it was only published in 2018. I chose this  one in particular because of its visual interest and simplicity. It says everything it needs to say with its picture. The words are just an added bonus. Not only is the moral powerful for children of any gender or orientation, but it is a great tool to show the power of pictures and how they can tell a story just as well as words can.   

Evaluation

For this review, I will be evaluating the illustrations as a form of storytelling, the use of color to create the setting, and the subtle but present moral.

Illustrations

The author of Julian Is A Mermaid is an illustrator first and an author second. Her first book doesn’t have much in the way of words, but her strength as an artist shines through as tells a story in a  unique way. It is through the visuals of the book that the story of Julian is best told. Julian’s actions and facial expressions move the plot forward more than any of the dialogue of written description. Pages 3-8 show a fluid sequence of action as Julian gets lost in his imagination, gets rid of his human clothes, and finds freedom as a mermaid. There are no words on these pages to describe what is happening, but Love makes it clear for children what is going on. 11 individual illustrations of Julian show the sequence of events and utilize facial expressions to show readers Julian’s interest, excitement, and final joy. Love is an expert at telling a story with no words at all. 

Color

Love does not just use her illustrations to move the plot forward, but also to establish a unique setting. Instead of being printed with a traditional white background, the empty space of Julian Is A Mermaid is filled with a neutral brown, giving the impression that the book is printed on cardboard. This creates a muted and lackluster universe for Julian to exist in. However, Julian, his Abuela, the mermaids, and the objects that he uses to transform are in stark, bright colors. This gives the audience the feeling that there is nothing particularly special about the world Julian lives in, but it is Julian and the other characters who create the magic of the book. Using this technique, Love expresses to children that they do not need any special or exciting world to become what they wish to be, but that the power to be your most authentic self comes from within. It creates a nice contrast between what the world is without creativity and what it can be. 

Didacticism

Julian Is A Mermaid is a foundational book in LGBTQA+ awareness in children’s literature, but it does not advertise itself as such. While the moral of the story, embracing who you are and living your authentic self, comes across clearly in the book, nowhere is this message even remotely said. The book never pauses Julian’s exploration to remind readers that what he is doing is okay, his abuela never sits Julian down and gives him a talk clearly meant for the audience, and the book doesn’t conclude with a quippy phrase for readers to carry. Instead, the message of the book is ingrained into the story itself. Julian’s actions and personal expression are something that just is. This makes Julian Is A Mermaid a beloved book for readers of all ages. There is no teaching and talking down to, there is just a norm established. Readers do not feel like they are being taught a lesson, they are just enjoying a story. 

References

Love, J. (2019). Julian is a mermaid (J. Love, Illus.). Candlewick Press.