Shelf Awareness--Moonleapers

MG Review: Moonleapers

Moonleapers by Margaret Peterson Haddix (Quill Tree Books, 320p., ages 8-12, 9780063392564)

Moonleapers is compelling, high-stakes time-travel fare in which a 12-year-old's new phone reveals unexpected connections between her sick great-aunt, "moonleapers," government spies, and herself.

Maisie is delighted to be finally getting her own phone, a hand-me-down from Great-Aunt Hazel. Unfortunately, she's receiving the phone because Hazel is "really, really sick" and Maisie and the rest of her family will be moving to Maryland for the summer. Maisie's first-ever text on Hazel's old phone is an unknown number: "Hey diddle diddle/ Are you ready for your riddle?" The message is confusing, as is the blank, old-fashioned-looking book titled Guide for Moonleapers Maisie's mother hands her, saying, "it might make you feel closer to Great-­Aunt Hazel." Maisie decides to correspond with the anonymous texter and begins answering the riddles; when she does, writing appears on some of the previously empty pages of the guide. Then, Maisie accepts a call from the "MOONLEAPERS HOTLINE"--the girl on the other end is "from a different century." She tells Maisie that time itself can be "taken apart and reknit in a better way" and that the two of them, plus Hazel, must "change the world."

Margaret Peterson Haddix (Running Out of Time) masterfully grounds her suspenseful series opener in contemporary dynamics, such as Maisie feeling "weird" and not fitting in at school. The cryptic communications advance the narrative and raise the stakes until, by the end of Maisie's time in Maryland, readers can well believe she has thwarted Nazis, saved lives, and is now one of a privileged few who can both see and affect the past and future. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

Shelf Awareness--The Spy in the Museum

PB Review: The Spy in the Museum

The Spy in the Museum by Erin McGuire (Beach Lane Books, 40p., ages 6-9, 9781534466173)

Illustrator Erin McGuire (Rollin' on Down the Line) authors her first picture book, the fascinating and well-researched The Spy in the Museum, about Parisian Rose Valland's important work tracking artwork pillaged by Nazi's during World War II.

Rose Valland was the curator at the Jeu de Paume Museum in Paris, where she cared for "some of the world's greatest art." When the Nazis "arrived on Rose's doorstep," they "stormed the hallways... eyeing its treasures greedily." Quiet, shy Rose could have fled the danger but stayed at the museum as manager, fearful about what would happen to the artwork. "The Nazis... thought she was harmless," but Rose was brave and took notes as the Nazis discussed their secret plans in front of her. Rose kept track of where the art went, even after she was caught eavesdropping and threatened with death. When the Germans finally left Paris, their train cars stuffed full of the museum's masterpieces, Rose sent her information to the French Resistance; the French Army managed to save "148 crates of priceless paintings."

McGuire's engrossing narrative hews closely to its mission of describing Valland's "small, overlooked" act of heroism. The text is precise and concise and conveys the danger Rose was in, as well as her passion for her work. The digitally painted, graphite and mixed media illustrations are equally strong, portraying Rose's determination through facial expressions and posture and using shifts in perspective to create both menacing and thoughtful images. While the focus of this gripping book remains on Rose and her accomplishments, the "twisted and hateful" outlook of the Nazis is apparent in both text and back matter. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

Shelf Awareness--Broken

PB Review: Broken

Broken by X. Fang (Tundra Books , 48p., ages 3-7, 9781774882009, October 14, 2025)

In Broken, the exceedingly talented X. Fang (Dim Sum Palace; We Are Definitely Human) passionately describes a dramatic incident in which Mei Mei breaks Ama's cup. How the cup--and Mei Mei--are subsequently made whole again involves glue, understanding, and the perfect hug.

Mei Mei is bored while visiting Ama. So, "naturally," the child decides to scare Ama's cat, Mimi. Mei Mei jumps out with a loud "BOO!" and bumps into a table; Ama's patterned yellow mug flies "up, then down, down, down, until CRASH!" It breaks into three pieces. Mei Mei, who doesn't know what to do, runs "far away." Alone and worrying on Ama's doorstep, Mei Mei believes that Ama will get mad or yell, but fondly, "with a smile," Ama asks Mei Mei to come back inside for tea and cake.

The mug is gone from the living room floor, but Mei Mei's guilt remains. "Mimi, you naughty cat!" Ama says while cuddling the cat, "You broke my cup!" But Mei Mei and Mimi know the truth. Mei Mei tries to eat the cake, but Mimi stares directly into the child's eyes over Ama's shoulder. And then "Mimi stare[s] even harder." Finally, the guilt overwhelms Mei Mei, who runs to a dark closet and huddles there. Ama finds the overwhelmed kid and Mei Mei confesses. Even though Mei Mei cries so hard it seems "the entire closet [will] flood," Ama isn't angry. Ama, who is a "fixer," glues the cup back together "piece by piece": "every repair tells a story" and now the cup has one, too. Finally, there is cake.

Fang's child-centric picture book speaks directly to the heart. Strong text, strong feelings, and strong art all acknowledge that mistakes are made (endpapers show the cat is not exempt either!), but kindness and compassion rule the day. Direct, first-person narration in the voice of tempestuous Mei Mei holds nothing back, and the digitally colored, graphite pencil-on-paper illustrations include plenty of extreme closeups, child's-eye-views, and even one invitation to turn the book 90 degrees for dramatic effect. The art is composed mostly of saturated blues, oranges, and yellows, accompanied by plenty of white space, keeping the pages from getting too dark. Ama's cheerful warmth nicely balances Mei Mei's passion, and readers will surely feel all Mei Mei's feels, then cheer when the child finally gets cake. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

September Recommendations

In LATE TODAY, written by Jungyoon Huh, illustrated by Myungae Lee, and translated by Aerin Park, a narrator explains that “we can’t be late today.” But a wet, bedraggled kitten is crossing the bridge. No one wants to see it hurt, but “no one ha[s] the courage to save her.” Until one person, “gripped by fear,” SCREEECH! pulls over, “hop[ing] to hear a kitten’s cry.” Thankfully, there’s a forlorn “mew, mew,” and the driver rushes over to save the quivering kitten. The narrator concludes that “today [is] a good day to be late.” It’s a strongly affecting story, inspired by a kitten the writer was not able to rescue, sparely worded, strategically using sounds—and silence—to move readers. The text pairs perfectly with dynamic colored pencil and oil pastel illustrations that feature a good number of extremely effective wordless spreads to ratchet up suspense and bring this moving story to life.

YOU ARE NOT ALONE, written by Ingrid Law and illustrated by Xin Li, gently, lovingly, reminds children that even when bedtime feels “like it’s about to be you and no one else until morning,” they are “not alone.” Not alone echoes the nightlight, the father or mother, and the “soft fluff of [their] best-loved, most-hugged” stuffed animal. Not alone, “hoots the ever-watchful owl” that’s “draped in moonbeams;” not alone, calls the train, “it’s horn echoing from faraway tracks.” Via Law’s sweet, poetic language and Li’s warm and welcoming watercolor, gouache, crayon, colored pencil, and dried pastel art, the “pages of this book” softly, explicitly, reassure the child that they “are never alone.”

ZEBRA AND YAK: THE BACKWARDS ALPHABET BOOK, by Paul Friedrich, is a distinctive, really funny alphabet book. It does go backwards, and as someone who proudly memorized the alphabet in reverse as a kid, this speaks to me! When the book gets started, Zebra is complaining about not getting a cue from xylophone (“I didn’t hear X is for Xylophone”), and insists that the story should start with “A is for Apple.” The narrator argues, too, in fact the whole book is a silly, bantering argument as we work our way back to apple…and a surprise twist! Chockfull of zany banter and hysterical cartoony ballpoint pen and digital illustrations, it’s terrific!

Gentle, uncluttered, and poignant, CLARA AND THE MAN WITH BOOKS IN HIS WINDOW, written by María Teresa Andruetto, illustrated by Martina Trach, and translated by Elisa Amado, tells the story of how Clara is sent by her mother with a load of laundry for “the man in the big house.” The man who leaves money under the mat and “never goes out.” When Clara appears interested, he gives her a book. And another, and another, and he invites her inside where they talk about courage, and when Clara forgets her book the man finds his own courage and takes it to her. The watercolor, pencil, monoprint, and digitally collaged illustrations are distinctive in this heartfelt Spanish import.

MY FRIEND MAY, by Julie Flett, is another cat story, this one about Margaux and May, and how they became friends. When May goes out she mostly sticks close to home, and she always comes home for dinner. Until one day, even when Margaux calls and calls and calls, May doesn’t return. Everyone gathers to look, but May is nowhere to be found. That evening, Margaux helps her auntie Nitôsis pack up to move to the city. They both worry about May, but the next night, when Nitôsis is putting things away in her new home, “meow!” she hears May! Once May is home, she “purr[s] a long purr,” nestles into Margaux’s chest, and understands that “the best place to get lost [is] in the long grass behind the house, with her friend.” This tenderhearted story unfolds at an easy pace, in a reassuring voice, with clever, loving illustrations in pastel and pencil that are digitally collaged. Back matter adds a personal note, as well as some thoughts and examples of the Cree language.

OH DEAR, LOOK WHAT I GOT, written by Michael Rosen and illustrated by Helen Oxenbury, is a delightfully silly, rhyming romp by the uber-talented creators of the classic We’re Going on a Bear Hunt. In this one, a boy goes to a shop to get a carrot, and “Oh dear they gave me… a parrot!” He asks for a hat, only to get a cat, and when he wants a coat, he gets… well, you know. There’s a lovely, cumulative element to the story, and the repeating refrain, “Oh dear, look what I got! Do I want that? No, I do NOT!” keeps readers rolling along—right up until Rosen perfectly subverts it at the end. Oxenbury’s watercolor and pencil illustrations are as divine as ever.

--Lynn

Guest Post: Lisa Rogers

I’m completely thrilled to share a guest post today by Lisa Rogers, author of, most recently Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, illustrated by Susan Reagan. She’s talking about that perennial dilemma for writers, Show vs. Tell, and offering up some tips on how perhaps to approach it constructively! Here’s Lisa:

Writers Who Tell Too Much

Have you ever been told that your stories are too “tell-y?” I have. Though I can spot a tell from paragraphs away, it can be hard to see it in my own writing.

I don’t always tell too much. I’ve been lucky when a story’s form curbs the telling temptation. For my debut, 16 Words: William Carlos Williams and “The Red Wheelbarrow,” I chose a parallel structure that showed Williams and Thaddeus Marshall going about their workdays. My initial text was so spare that first, my agent, then my editor, asked me to add more. For Joan Mitchell Paints a Symphony, the text came showing the act of painting, perfect for this artist didn’t like talking about her work–she wanted viewers to experience it without being told how.

However, during oodles of drafts of Beautiful Noise: The Music of John Cage, I told. And told. And told, until I threw out all that telling and let the reader directly experience Cage’s work. For Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, out from Calkins Creek/Astra Books for Young Readers, let’s just say that 1,250 words should have shown me that something was not right.

Example #1:

All the Facts

In the late 1950s, Woody was working at a farm when a woman named Sophie came to visit the owners. They weren’t home, and Woody and Sophie got to talking.

Soon Woody and Sophie fell in love. But something bothered Woody. He was almost 45 years old and just getting settled. He’d barely gone to school. Sophie was educated and had a good-paying job.

Rewrite: The Right Specifics

In Idaho, Woody worked in construction, stacked hay on a farm, and spent weekends fishing and writing.

Best of all, he met a woman named Sophie. who came to a ranch to visit a friend. When they met, it was the right time for both of them. They fell in love and decided to marry. But something bothered Woody. His writing might get in the way of his marriage.

Example #2:

Where’s the Passion?

The winter after Woody and Sophie married, it was too cold to work construction, and Woody became anxious. When Sophie asked what was wrong, he told her about his dream to be an author. Sophie believed in him.

Rewrite: Feel What Your Characters Feel

The winter after Woody and Sophie married, it was too cold to work construction, and Woody grew anxious. Sophie had a good-paying job, but what could he do until spring? When Sophie asked what was wrong, Woody decided to trust her with his deepest wish. Sophie didn’t hesitate. She believed in him.

These changes might seem small, but they make the difference between prose that is flat and dull and words that show emotion. Placing myself in a scene helps me to understand my subjects well enough to be able to show how they feel, what they see, how they act, and what's important to them. That helps my words connect with readers, so they can put themselves in the scene, too.

One way to spot the tell is to read your work out loud. Not just read it, but perform it, as if you’re reading it to a group of children and need them to hang on to every word. If it’s a struggle, it might be that you’re telling.

Use specific words to delineate action: “was working at a farm” is vague; “stacked hay at a farm” provides a visual. If you create pictures in the reader’s mind, your story will be one that resonates.

Lisa Rogers is the award-winning author of Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, called “a poignant tribute to the power of story" by Kirkus; Joan Mitchell Paints a Symphony, termed “simply marvelous” by Kirkus in a starred review; Beautiful Noise: The Music of John Cage, which received a Golden Kite Honor, the Julia Ward Howe Notable Book Award, and three starred reviews; the Crystal Kite finalist and Julia Ward Howe Award winner 16 Words, called “a fine introduction to a celebrated American poet” by The New York Times, which received two starred reviews; and the bestselling Elvis Presley: A Little Golden Book Biography. She also is the author of the Massachusetts Must-Read Hound Won’t Go, the author of the title poem of the anthology If I Could Choose a Best Day, ed. Irene Latham and Charles Waters, and more.

She was inspired to write for children during her career as an elementary school librarian. A former news reporter and editor, Lisa writes from the shores of a pond near Boston, Massachusetts, accompanied by howls from her hound dog. Find her at www.LisaRogersWrites.com.

Lynn's Review of Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows

Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, written by Lisa Rogers and illustrated by Susan Reagan, is an exceptional biography, full of voice and personality. It tells the story of Woodrow Wilson Rawls, who wrote “someday in my life I will write a book, and it will be a dog story.” And he did! Despite having “no schooling,” he wrote the bestselling dog story Where the Red Fern Grows.

Woody’s journey was anything but easy. Though he loved listening to stories, Woody didn’t go to school and “didn’t care for reading” until he heard The Call of the Wild read aloud, a story that “reached right into Woody’s heart and stayed there.” Woody’s family was poor, and he was too when he left home. But he persevered. He wrote when he was hungry, cold, in jail, in bunkhouses, and on railcars. When he met his wife Sophie, he settled down and during one long, freezing winter, with her full help and support, he wrote the first draft of what would eventually become Where the Red Fern Grows. And, just like when he listened to The Call of the Wild as a child, Woody found that his own story, Where the Red Fern Grows, reached deep into the hearts of the children who read it.

This fabulous biography sticks to the storyline about Where the Red Fern Grows, while back matter adds context and further fleshes out Woody’s complex life. The voice is strong and engaging, and the illustrations, with their greens, browns, and beautiful rich reds, work perfectly with the text. Kudos to the team that brought Woody’s Words to life, and kudos to Lisa for another beautiful biography to add to her body of work!

Lisa thank you for being here!

To order a copy:
Bookshop.org
Barnes and Noble
Amazon

Shelf Awareness--The Blue Velvet Chair

PB Review: The Blue Velvet Chair

The Blue Velvet Chair by Rio Cortez, illus. by Aaron Marin (Denene Millner Books/S&S, 40p., ages 4-8, 9781665912594)

The Blue Velvet Chair combines eloquent language with cozy illustrations to deftly convey a child's view of the world outside their window, perceived from the comfort of a favorite chair.

When a Black child wakes in the morning, the first thing they do is "streeeeetch [their] arms up beside [their] ears and climb the blue velvet chair" located by a window in the living room. Today, it's winter in the city, and the child sees white snow, brown branches, and their own "tiny cloud" of breath on glass. Sometimes it's spring and "the roof across the street is wet with rain." Sometimes a "black cat licks its paws"; other times, people are dancing. When the glass is warm, "that's summer." In autumn, the trees in the garden "turn orange and yellow and make crunchy piles," but the "roof across the street is quiet." As day winds down, the child stretches their arms up beside their ears and imagines "all the little ways the world might change tomorrow."

Poet and picture book author Rio Cortez (Golden Ax; The ABCs of Women's History) writes a flowing text that is a pleasing tumble of child-friendly musings. Sensory descriptions emphasizing the variable nature of the outside world tenderly express the message that time is always changing, and so are we. In Aaron Marin's sophomore work of picture book illustration (Amoya Blackwood Is Brave) he uses fully saturated colors with few outlines to highlight the warmth of the home and the closeness of its family. The Blue Velvet Chair offers an excellent excuse to snuggle up with a loved one for storytime or some world-watching. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

Shelf Awareness--Squirrel and Bird

PB Review: Squirrel and Bird

Squirrel and Bird by Laura Baker, illus. by Stacey Thomas (Tiger Tales, 32p., ages 3-7, 9781664300866)

In the dynamic, thought-provoking Squirrel and Bird by Laura Baker (Monsters Everywhere series), illustrated by Stacey Thomas (The Inventor's Workshop), an increasingly irritated Bird chafes at being typecast by a narrator's narrow interpretation.

A narrator states, in no uncertain terms, that Squirrel is so loud, "you can hear Squirrel from anywhere." And Bird "hardly makes a sound at all." Squirrel is "busy, busy, busy," while Bird "prefers to sit and do nothing." Frustrated, Bird tries to explain otherwise but is repeatedly ignored by the adamant narrator. The two friends are preparing for a concert: gathering instruments, sheet music, and inviting all the animals in the forest to attend. When the stubborn narrator decides that perhaps Squirrel, who is "oh-so-easy-breezy," should perform alone because Bird is "freaking out," Bird finally shouts "ENOUGH!" Bird vehemently insists that there is "so much more" to each of them, and now that Bird has spoken up, the narrator agrees. Bird is a lot of things, most notably a thinker and a performer, while Squirrel can be loud, excitable, and shy. With the narrator duly chastised, Squirrel and Bird can begin their story all over again. And, this time, they will tell it their way!

Baker's irresistible tale playfully demonstrates the downside of making assumptions and judgements. The entertaining text is thoughtful and full of energy, with Bird actively breaking the fourth wall. Delicate, predominantly yellow and gray illustrations cleverly contradict the narrator, showcasing the true nature of Bird's contributions and highlighting the multifaceted personalities of both endearing characters. Squirrel and Bird may appear lighthearted, but it packs an undeniable wallop of wisdom. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

August's Book of the Month--Your Forest

August’s Book of the Month is the board book YOUR FOREST, by Jon Klassen.

“This is your sun. It is coming up for you.” Thus begins a seemingly simple offering from Klassen. But there’s a lot going on. The child is immediately centered in the narrative, with the one and only sun rising just for them!

The book continues: “These are your trees. They can go over by the sun.” Then comes the cabin, and “maybe some rocks. Not too many though.”

To me, this feels like a call to creativity. The trees, cabin and rocks can be placed anywhere, though for now they will go where the narrator thinks they should go. Someday, however, the child might place them differently!

And the ghost! The “forest ghost,” who is “nice” but “only comes out at night.” I want a nice, friendly ghost like this to hang around nearby!

The stream means the child will always have water, and the bridge means they can always go home. The sun sets, and “everyone is closing their eyes.” And finally, because the forest is asleep, the child can sleep too and think about all they “will do there tomorrow.” As a lovely final touch, the last spread shows that nice ghost is keeping watch.

So sweet, so simple, so empowering!

--Lynn

August Recommendations

BEAR LOVES HIS HOME, written by Karen Jameson and illustrated by Ishaa Lobo, follows a bear cub as he “forages and roams” through the “warm amber fields,” “wandering hills,” and “fresh forest pines” of his beautiful “wilderness home.” The book shares plenty of facts about the young Bear’s diet and terrain, both in the main text through exquisite rhyming stanzas full of strong imagery, alliteration, and onomatopoeia, as well as in back matter which supports the text by digging a little deeper into the info introduced on each spread. The sweet digital art showing Bear frolicking, with mom watching protectively nearby, should draw kids in. Though the story ends with the promise of a new day, cuddle up!—Bear’s evening hunt and Jameson’s lilting verse work perfectly for bedtime.

In OUR LAKE, by Angie Kang, an older brother takes his younger sibling “to swim in the lake like Father used to.” As “the domed sky swaddles [them] in heat,” and “the water glistens below,” the older brother is caring and attentive, but, without Father, “the water looks far away.” However, Brother offers plenty of encouragement, and with the memory of Father stretching, soaring, and splashing into this same lake, the younger boy finds strength enough—and joy—to make the leap, soaring like an arrow “the way Father taught [him].” This is a poetically-written, deeply-felt narrative of love and healing, made stronger by evocative mixed media illustrations that channel the rich blues, greens, and yellows of summer.

In A BOOK OF MAPS FOR YOU, written by Lourdes Heuer and illustrated by Maxwell Eaton III, an unnamed narrator shares the book of maps they’ve made. A map of town, which points out details like the “fresh-squeezed juice and honey” smell of the orange groves near Blossom Lane. A map of Pip Street, which shows the old Halloween house on the corner and the house with the chicken coop called “Little Farm.” More maps follow, including school and library, a pirate map, a maze, and a map of “our house,” with a lovely surprise ending that’s all heart. Text is full of details and advice that feel practical, personal, yet full of whimsy, while the also-detailed pen, watercolor, and colored pencil illustrations convey all that is said and more.

In EVERY MONDAY MABEL, by Jashar Awan, Mabel wakes up early on this “best day of the week,” peeks out the window to make sure there’s still time, then races down the hallway with her chair. Past Mira’s room, past the kitchen (where she picks up a bowl of dry cereal), past her dad, and out the door where she does the “most boring,” “cutest,” or “funniest” thing—depending on which family member you ask. Mabel sits and waits and waits until RRRRRRRRRRRRR! HONK HONK! the best thing in the world arrives! The suspense in this book builds and builds, and when readers finally see what Mabel is waiting for, the payoff is worthwhile. Text is exciting and immediate, and digital art resembles cutouts with it’s flat, well-designed color blocks. Should be right up any kid’s alley!

MISTACO! A TALE OF TRAGEDY AND TORTILLAS, by Eliza Kinkz, is the—extremely—high energy story of Izzy, “the PRESIDENT of Mistakes! Whether its eating a bowl of queso while doing homework, singing while brushing her teeth, or “watching important videos about video games” instead of watching where she steps, Izzy’s mistakes make her feel like “chili con KA-KA.” Especially THE HUGE SCHOOL MISTAKE. Her large family may “Hooha Ha,” “Pffffft,” and snort with laughter, but they also know how to make Izzy feel better. Making tortillas with Lito allows her to work out her frustration, and then the whole family gets to eat “mistacos” by admitting their own mistakes. The scribbly-style art, made with pencil, ink, watercolor, gouache, crayon and muchas concha crumbs, is as high energy as the words. But there’s plenty of warmth here, too. And Spanglish. And a recipe for tacos.

In RABBIT’S FEAT, by Barney Saltzberg, every spring, when Cactus’s flowers are about to bloom, Rabbit hears how Boulder—who perches on a cliff above Cactus—wishes to see them up close. Now, Boulder insists “today will be the day.” Cactus “can’t wait!” Rabbit decides they can’t wait either, and while Boulder and Cactus seem content to talk about how much they dream of being near each other, Rabbit tries and tries to push Boulder over the ledge and next to Cactus. Before long, “with… a little… help… and a little kindness… BOOM!” Boulder and Cactus can enjoy being together at last. Mixed media digital illustrations use fun textures and sweet character design to bring this tale to life.

--Lynn

Shelf Awareness--Immortal Consequences

YA Review: Immortal Consequences

Immortal Consequences by I.V. Marie (Delacorte Press, 512p., ages 12-up, 9780593898802)

In Immortal Consequences, a compelling dark academia YA novel, six ambitious teens are stuck in a magic-infused world "parallel to life and death" where there is copious amounts of romantic tension, intrigue, and deception.

Wren, August, Emilio, Olivier, Irene, and Masika have all died, but none have "crossed over to the Other Side." Instead, they are at Blackwood Academy, a purgatorial magic school. Blackwood students generally "graduate" after a few hundred years--they lose "memories of their previous life" to the Forgetting and are sent to the Ether to "reap lost souls for the rest of their existence." Every decade, however, one outstanding student is nominated for the Decennial, a ritual that allows the student the option to join the academic elite or cross over. When the six teens sneak out to watch a new student arrive, they bear witness to a concerning--perhaps impossible--display of magic. Rather than getting in trouble, though, all six are ordered to participate in a startling revision of the Decennial: instead of celebrating one student, this year's Decennial is a competition. The six "unfortunate acquaintances" become immediate rivals, but there will still be only one winner--and all are determined it will be them.

I.V. Marie's well-crafted debut is a riveting page-turner with action, witty banter, mysterious secrets, and unfulfilled longing. Her agile prose describes an ensemble cast of competitive characters who are each driven to be the best, even as they remain haunted by mistakes of their past lives. The six strive to conquer fears, personality flaws, and errors in judgment, yet remain startlingly human: even dead, all are terrified of running out of time. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

July's Book of the Month--The Papaer Bridge

July’s Book of the Month is the exquisite picture book, THE PAPER BRIDGE, by Joëlle Veyrenc and Seng Soun Ratanavanh.

Anya lives in the village of Paperlee, where people are “paper-thin and paper-light.” Residents are happy, except for the five-and-a-half days a year when strong winds blow and they keep stones in their pockets so they’re not lifted away. But when windmills suddenly appear on a neighboring mountain, home to the village of Forestlee, the anxious people of Paperlee suddenly need to carry stones with them all the time!

Anya realizes she must go to Forestlee, but first she must design a bridge to cross the chasm that divides the two villages. Using skills gleaned from the papercraft of kirigami, the bridge is built and Anya bravely crosses, only to discover that things are very different in Forestlee. Nevertheless, Anya explains the plight of her people, helps to solve a problem, and in doing so she finds a friend.

Joëlle Veyrenc uses the language of folklore to bring this gorgeous, hopeful story of interconnectedness and problem solving to life. Equally important are Seng Soun Ratanavanh’s meticulous illustrations, which use kirigami, pencil, and watercolor on paper, hand-cut and arranged into scenes, then photographed (back matter shows samples of what the constructed art looks like). Let this mesmerizing tale sweep you away!

--Lynn

Shelf Awareness--Millie Fleur Saves the Night

PB Review: Millie Fleur Saves the Night

Millie Fleur Saves the Night by Christy Mandin (Orchard Books, 40p., ages 4-8, 9781339023373)

In Christy Mandin's wondrous, magical Millie Fleur Saves the Night, the follow-up to Millie Fleur's Poison Garden, young Ms. La Fae employs compassion, care, and homemade moon pies to encourage every townsperson of Garden Glen to be a "friend of the Dark."

Every evening, residents of Garden Glen deploy houselights, spotlights, and lanterns to ensure their homes and gardens are safe from the "scary" and "dangerous" dark. Not so Millie Fleur, whose moon garden wasn't growing and who "hadn't seen a single night creature" since she moved to town. The Dark is always welcome in Millie Fleur's yard so the girl marches (moon pies in hand) to the edge of the woods to greet her old friend and many other creatures of the night. Spiders and bats, katydids and moles follow Millie Fleur back to her garden, which springs to life with their gentle activities. The sweet smell of night-blooming plants enchants her neighbors, but they will have to be brave and meet the Dark if they want to experience Millie Fleur's sparkling garden.

Mandin's enchanting sequel has all the charm and singularity of her first offering and allows readers to once again experience the eccentric perspective of her offbeat horticulturist with a penchant for the sweetly macabre. Digital illustrations are dark, fully saturated, and highlighted with whimsical touches, such as curlicues and faces on plants. Creative, unthreatening, and bursting with atmosphere, Millie Fleur Saves the Night should enchant readers of any age as it encourages them to face their fears and embrace the unknown. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

July Recommendations

In MOVING DAY, written by Teri Roche Drobnick and illustrated by Jennifer Black Reinhardt, a family waves goodbye and says, “See you soon.” But the house doesn’t want to go! It’s been in place for a hundred years, but now, with a “lug and a tug,” it’s lifted from its foundation. A crowd gathers as the house is pulled around tight corners and up and down steep hills, until it “smiles” to see its family, waiting in its “new spot.” MOVING DAY offers an entertaining twist by having the house be the one reluctant to move, and there’s plenty of fun language to carry it off. Vibrant, whimsical watercolor and ink illustrations play perfectly with the text, adding details (like the house wearing Victorian shoes and carrying carpetbags) and using extreme perspectives. This move turns out to be quite the parade-worthy adventure!

THE BEAR OUT THERE, by Jess Hannigan, is an uproarious, in-your-face story of a red-headed child who addresses readers to insist—dramatically—that there is a BEAR outside. They know it for a fact. The bear is watching from the woods and the child doesn’t “have to see it to know that it’s out there.” The child points out “bear signs to watch for,” draws “super accurate” pictures of the bear, plays cards while waiting for a rescue, etc. until RATTLE, RATTLE, CREEEAK… well, you’ll see. The twist at the end wraps things up nicely and offers a few more reasons to laugh. Second person narration is really funny, very kid-friendly, and veers in all kinds of directions. Acrylic paint, collage, and digital illustrations are bold and blocky, with plenty of engaging closeups to amp up the humor. It’s perfect for storytime!

FIREWORKS, written by Matthew Burgess and illustrated by Cátia Chien, leads readers on a trek through the city one hot summer day, when the warm, bright sun beats on steamy sidewalks. "Whoop! Weee! Woohoo!” a fire hydrant springs a leak and all the kids know what to do. To the bodega, through the park, then back home for watermelon in the “thirsty afternoon.” After dinner, POP! The first “flower of fire” zings and tizzle-tings across the sky. The strong, lyrical text is full of action, poetic descriptions, and sensory details that zing, just like the fireworks. The joyful mixed media illustrations emphasize the action as well as the details while also leaving much to the imagination. Great book for a warm summer night’s read.

TOTO, by Hyewon Yum, features a girl with a birthmark named Toto. Cousin Charlie thinks Toto looks superpower cool. Grandma kisses Toto (a bit sadly) whenever they meet. Mom was surprised by Toto, but proclaims it “a kiss from an angel.” The girl feels that “sometimes people only see Toto," and when it’s time for school, she starts to believe that “it’s a good idea to hide Toto for a little while.” Even when she makes a new best friend, she worries that Niko will think Toto is strange and ugly. The solution is affirming and “extraordinary!” Hyewon Yum’s work is lovely, as always. Her matter-of-fact, first person text, and pencil and watercolor art, bring this moving story fully to life with plenty of heart to spare.

In I WILL ALWAYS BE…, written by Rebecca Gardyn Levington and illustrated by Rahele Jomepour Bell, a girl shimmies onto a school bus, describing how she loves to “pirouette,” “pop and lock,” and “cha-cha-cha” as a dancer. In the bathtub, she “think[s] and tinker[s],” “tweak[s] and build[s],” as an inventor. She dabbles with “stickers, scissors, cotton,/pom-poms, paper, [and] glue” to “imagine something new” as an artist. In this perfectly rhymed, bouncy text, the girl also sees herself as a scientist, a writer, an athlete, and a baker. Most importantly, she knows that wherever she’s headed she will always be… herself. The colorful, mixed media illustrations are as active as the text, and nicely enhance all of the can-do energy.

HERE IS A BOOK, by Elisha Cooper, is a gentle, uplifting meditation on an artist’s process for making a book, presented by an artist who has made many wonderful books himself. In this one, the artist dreams, gardens, bakes, and enjoys her warm home, filled with "bread, raspberry jam, family, [and] a cat.” She bicycles her finished art to a bustling town, where she delivers it to her publishers office, humming with teamwork, from where it’s sent to the printer, then the books are trucked across a “country and a coast,” to a city, then delivered to a library, where a student finds it and brings it to her own home, filled with "vegetable soup, family, two cats, and humor,” where it is read and loved. This inspiring, idealized look at publishing paints a sweet portrait of the creative and logistical steps that go into creating a picture book. Cooper’s watercolor and pencil illustrations are as evocative as ever.

--Lynn

June's Book of the Month--Jim!

June’s Book of the Month is JIM! SIX TRUE STORIES ABOUT ONE GREAT ARTIST: JAMES MARSHALL, written and illustrated by Jerrold Connors.

The book opens with a story about how James Marshall’s friend Harry was “full of wild ideas.” Apparently, Harry called “Jim” one night to tell him “Miss Nelson is missing!” The next day, Harry brought over the story, written out, and pretty quickly Marshall “whipped Harry’s story into shape” with sketches and a name for the substitute teacher (based on a teacher of his own who told him he would never be an artist).

Story Number Two is about how Marshall hated when his work wasn’t taken seriously, so he tried playing classical viola. But he liked drawing better. He also meets his partner Billy in this chapter.

Story Number Three is about his friendly rivalry with Maurice Sendak and it’s pretty sweet. Arnold Lobel makes an appearance as a James Marshall-style pig with a mustache, while Sendak is a bulldog.

Story Number Four describes how much Marshall wanted to win an award for his work, with a few fun thoughts on his illustrations for The Owl and the Pussycat.

Story Number Five offers some pertinent wisdom during a school visit, and Story Number Six describes how sick Marshall eventually became, without specifically mentioning AIDS (that’s in the backmatter.)

I love, love, love this picture book biography about one of my kidlit heroes, James Marshall. The narrator is a fox, based on the character he thought was most like him. Text is broken up into six distinct stories (or chapters), and it’s paced like the chapter books Marshall wrote. The excellent backmatter enriches the book with context and additional, thoughtful information. Ink and watercolor illustrations, digitally enhanced, are reminiscent of Marshall’s “cartoony style,” but don’t call them “cute” or “zany”—Marshall hated that. Connors even includes a colorful timeline which graphically displays some of the elements in this picture book. It’s not the easiest of reads—it’s hectic, chaotic, and full of depth, but it feels like the biography James Marshall would want and deserves.

--Lynn

Shelf Awareness--Dream for the Land

PB Review: Dream for the Land

Dream for the Land by Laekan Zea Kemp, illus. by Leo Espinosa (Anne Schwartz Books, 40p., ages 4-8, 9780593710302)

Dream for the Land is a moving and ultimately hopeful look at how one family in the Southwestern U.S. works and dreams of rain during a megadrought.

A child with brown skin and messy pigtails chases bunnies away from crops on her family's small farm. But this is the second batch of tomatoes that looks "withered on the vine" and the squash is being destroyed by spider mites. When a horned toad "skitters across the soil," Pá demonstrates how to catch it, kiss its head, and make a wish. The hardworking family prunes and weeds, but the drought means clouds refuse to "burst open over [their] small farm." When Pá was a boy, this same land "used to be green as jewels" and he would swim in the "cobalt river"; now, the river is only a memory. The child realizes the family needs some magic: they find another horned toad and "plant a gentle kiss on his head," dreaming of "the world as it once was" and "the world as it could be."

Laekan Zea Kemp (Somewhere Between Bitter and Sweet) tells a tenderhearted story that depicts the hardships of tending a drought-stricken land yet maintains hope. Illustrator Leo Espinosa (Islandborn) uses pencil and Photoshop to illustrate both sweeping landscapes and intimate emotion; an earth-toned palette uses gentle colors that realistically show the stark climate. Though the child's situation is dire, the story ends optimistically. A powerful author's note points out that although the Southwest is experiencing its longest megadrought in 1,000 years, there are "Indigenous communities and other communities of color that know exactly what the earth needs to heal." --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

May Recommendations

THE DAY MOON AND EARTH HAD AN ARGUMENT, written by David Duff and illustrated by Noemi Vola, introduces young readers to the planets in the totally relatable terms of a couple of friends having a snarky spat. Even though “both said things they didn’t mean,” neither makes nice, and, “after 4.5 billion years together, [Moon] packs her things and leaves.” The illustrations are bright and cheerful and have gobs of personality—you’ve gotta love Moon’s pink and blue backpack with green straps, the socks and shoes worn by all the celestials, and all the expressive faces, especially the close-up of Moon, full page spread near the end, when she realizes she’s “a long way from home.” Backmatter gives more facts, I love, love this one for ages 3-6 especially!

POP! GOES THE NURSERY RHYME, written by Betsy Bird and illustrated by Andrea Tsurumi, is great, raucous, read-aloud fare. Beginning with —yes, Pop! Goes the Weasel, then on to Mary Had a Little Lamb, Jack and Jill, and more, the weasel in this story has way too much fun disrupting and subverting all of the rhymes. And there’s a large bird who’s taking it all very seriously… Kids will love reciting the familiar rhymes and shouting along with the weasel, and there’s a bit of extra suspense near the end to tie things up nicely. The cartoony digital illustrations are full of action and expertly describe the perfect dose of storytime chaos.

EXACTLY AS PLANNED, written and illustrated by Tao Nyeu, is a clever two-sided book that tells the same story from two different points of view. Moose, who has just knitted a red scarf, is invited to Fox’s home for tea, and decides to bring the new scarf as a gift. Unfortunately, along the way it unravels, and although Moose collects other “random” gifts along the way (apples and flowers), he’s still upset that he doesn’t have a proper gift for Fox. When Fox offers up a skein of pretty blue yarn, Moose knits his friend a hat, and the two chat for hours, enjoying a terrific visit, “exactly as planned.” Flip the book over, and we find Fox cooling freshly-baked brownies for Moose’s visit. When a crow flies off with the treats, Fox is terribly upset at having nothing to offer her guest, but then finds a strand of red yarn that’s gotten stuck on a bush. Since Moose “likes crafty things,” Fox gathers it up, collecting other small treasures, as well. Goat dyes the scruffed-up yarn a delightful blue color, then Fox goes home to welcome her guest. As Moose knits, Fox bakes an apple pie, and the two friends enjoy a terrific visit, “exactly as planned.” This pair of stories imparting kindness and cooperation weave together beautifully. Pastel-colored silkscreen and colored pencil illustrations on light beige paper reinforce the gentle tone and offer plenty to enjoy on repeated readings.

In THERE’S A GHOST IN THE GARDEN, written by Kyo Maclear and illustrated by Katty Maurey, a boy and his grandpa spend time together in a garden that’s full of activity. The ghost may be mischievous, “knock[ing] over flowerpots and trash cans,” or friendly, leaving “little presents.” Grandpa thinks there may be more than one, possibly deer ghosts or fox ghosts, or the “ghosts of migrant birds circling back to their old haunts.” There is peace in this garden, but also regret, as the forest is smaller now, the stream is gone, and the “air is loud with car horns and the neighbor’s music.” Still, the pair listen, and talk, and remember together, as a “ghost circle[s] back to its old home.” Maclear’s lovely, sweet, uplifting text is supported by Maurey’s pitch-perfect gouache on paper illustrations.

In DRAGON DREAMS, written by Roni Schotter and illustrated by Khoa Le, (human) sister-dragons have had “an angry day, with way too much pinching, poking, and pushing.” Daddy tucks them in for dragon dreams, and one sister stays awake listening to the night sounds. Then there’s “a rustle and a whirrrrr” and wings at the window announce her “own special dragon” has come calling. They fly high into the sky, where “stars wink their secrets,” and “comets leave messages on the blackboard sky.” When they arrive at the Secret Gathering, they find dragons “of every color and kind” carrying children “of every color and kind.” Daytime differences are resolved, there is dancing, until it’s time for home and more dragon dreams. A sweet fantasy, supported by a list of the many different dragons who made an appearance at the end, and dreamy, deeply-colored nighttime digital illustrations nicely enhance the magic.

ADI OF BOUTANGA: A STORY FROM CAMEROON, written by Alain Serge Dzotap, illustrated by Marc Daniau, and translated by the author, is a longer, older picture book about a girl who is part of a group of nomadic herders who live in a village of “great chameleon grasses.” Adults take what jobs are available, with Dad driving a “motorcycle as a cab,” and Mom now selling “makala—palm-oil doughnuts—on market days.” The girl loves going to school, where her demanding teacher shows her how to trace words in notebooks so “a strong wind [doesn’t] steal them as soon as they [leave her mouth].” But when Uncle Amadou decides she’s “already become a woman” and must marry, the girl and her parents quietly plan how to “oppose the decisions of the eldest member of the family” to save their “still a little girl” from the arranged marriage. The girl embraces a new life in a new place, far from her old village, where she can play and learn and grow up to fall in love, all in her own good time. An author’s note and backmatter about Camaroon give context. The text is riveting, and brightly colored oil on paper illustrations support it quite well.

--Lynn

Shelf Awareness--Hurricane

PB Review: Hurricane

Hurricane by Jason Chin (Neal Porter Books, 48p., ages 5-8, 9780823458493)

In Hurricane, Caldecott and Sibert Medalist Jason Chin (Watercress; Life After Whale) delivers another sensational work of creative nonfiction that features precise details and exacting illustrations.

"A storm is raging over the Atlantic Ocean." But it's no ordinary storm, it's a hurricane, with "howling winds, raging waves, and torrential rains [that] can cause terrible destruction." And it's heading toward the east coast of North America. Luckily for people who live in its path, the storm is being watched by a weather satellite hovering 22,000 miles above Earth, meteorologists at the National Hurricane Center in Florida, and brave hurricane hunters who pilot their "airborne weather station[s]" into the very storm itself. Informed residents know to prepare with emergency supplies; they fuel cars, check on neighbors, board up windows, and when forecasts indicate lives may be at risk, these residents lock their doors and leave.

Chin's fascinating, information-packed narrative tracks the hurricane day by day, describing the violent storm and its effects on the residents in its path, while sidebars and back matter explain related topics. His pen, ink, watercolor, and gouache illustrations gracefully and diligently depict both the meteorology and the urgent-yet-measured approach informed residents might take. Chin demonstrates the extreme importance of weather monitoring in general, and hurricane tracking in particular, offering a welcome presentation of how they can be vital to human safety and emergency preparedness. Hurricane is a top-notch addition to the strong body of hurricane picture books for children. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

May's Books of the Month

May’s Books of the Month are two distinctive biographies, both illustrated by Lauren Soloy.

The first, TOVE AND THE ISLAND WITH NO ADDRESS, is written and illustrated by Soloy. It describes how, the summer when she is seven, Tove Jansson and her family pack a boat with what they deem “essential” and “[move] to an island with no address.” There aren’t many people on the island, but there is plenty for young Tove to do, including “dangerous things, boring things, digging things, exploring things…” all of which she sets out to accomplish on the very first morning. She “visit[s] the grotto where her secret friend live[s],” offers to take his daughters for a walk, and gets caught in a terrible storm—during which the girls blow away! The book is atmospheric, fantastical fun, and hints at the creative mind of the woman who eventually was responsible for the wonderful, classic Moomin books. Back matter gives a bit more context, and Soloy’s text gets us into Tove’s head nicely.

The second, A TULIP IN WINTER: A STORY ABOUT FOLK ARTIST MAUD LEWIS, is written by Kathy Stinson and illustrated by Lauren Soloy. Young Maud is a content child, playing with her brother, “stroking the cats, listening to music, and playing piano.” But other kids tease her “for her crooked walk, and how small she [is].” As her fingers grow more stiff and bent, she turns from music to painting, and, as she grows up, “colour flow[s] through her days.” But adulthood is hard for Maud. No one will hire her, and after her parents die she becomes a live-in housekeeper for the “gruff as a billy goat” fish peddler Everett Lewis. Right away, she brightens the house with her colors, and when they run out, Everett scavenges some more. Maud and Everett get married, and drive around the countryside selling her paintings and his fish—until they have to sell the car because it’s too expensive. Through it all and until her death, Maud paints “all the beauty she had ever seen in nature.” Back matter here, too, is welcome for context.

In both books, Soloy’s colors are strong and lush, employing descriptive black outlines as needed, to achieve her moody-yet-whimsical, solemn-yet-mischievous, decidedly enchanting digital artwork. These are welcome additions to the picture book biography genre!

--Lynn

Shelf Awareness--I Come from Another Galaxy

PB Review: I Come from Another Galaxy

I Come from Another Galaxy by James Kwan (Abrams Books for Young Readers, 40p., ages 4-8, 9781419771149, July 1, 2025)

I Come from Another Galaxy humorously, compassionately--and with a healthy dose of cuteness--relates the story of a dauntless young human who finds that things are very different away from Earth, where they are now the alien.

"Hello, friends." Intrepid adventurer James, who's zooming off to school in another galaxy, explains that they're writing in their little book to share "discoveries from outer space." Their new classmates are all aliens, adorned with slimy tentacles, big googly eyes, and noodle arms. James has "never seen anyone like them!" At school, no one knows how to pronounce the young traveler's name ("Joo-mez?"), and the bathroom has so many buttons that James decides to "hold it in." Not only is James not slimy enough for slime-ball, but when it's time for show and tell--where everyone else shares their favorite shiny, fancy things--James realizes that all they have to share is their little book. Slowly, they open it and read what they've written.

Turns out communicating helps! Once the aliens learn how to say the name "James" correctly, they cheerfully say "hi" (and "greetings" and "beep boop") to the human, after which they advise "PRESS RED! THEN GREEN! THEN SQUARE!" to help James use the toilet. With the help of new friends James can even be slimy enough to play slime-ball. Finally, wonderfully, James offers up things from their own "alien" culture: toothbrushes, socks, and noodles for lunch ("!!!"). The little book, it turns out, lets James "feel bigger having shared it."

James Kwan (Dear Yeti) takes the familiar premise of aliens coming to Earth and spins it 180 degrees. James (the character) is an earnest adventurer who's exhilarated by all the exciting new things they can learn, and their counterparts in the other galaxy are likewise eager to find out about James, all of which delightfully affirms the power of dialogue and the benefits of keeping an open mind. Kwan's pencil drawings are digitally colored in dark pastels, and his characters are engaged, unthreatening, and frankly adorable as they demonstrate how easy it might be to help someone new feel at home. I Come from Another Galaxy beautifully suggests it is likely that everyone has "special stories to share"--even if they are stories from another galaxy. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

April's Book of the Month--A Universe Of Rainbows

April’s Book of the Month is A UNIVERSE OF RAINBOWS, a fascinating celebration of art and science, with poems selected by Matt Forrest Esenwine and illustrated by Jamey Christoph.

Seventeen accomplished poets contribute twenty-one uplifting entries, each of which delve into a different facet of the beauteous phenomenon that is the rainbow. We begin with a poem by Nikki Grimes which bemoans a rainy day devoid of sunshine, hopscotch, and soccer, only to end with the wonder of “the storm’s apology.” It’s accompanied by an explanation of how rainbows are created, some terms for talking about them, and the suggestion to make one of your own with a garden hose. Following are poems about sun dogs, moonbows, prisms and crystals, rainbows in water, rainbows on trees, rainbows on wings, and more. So many kinds of rainbows! The book winds down with Garden of Stars, by Georgia Heard, along with its explanation of the rainbow nebula, then the book finishes with a long list of resources and a glossary.

This intelligent book has it all— evocative poems, bright, eye-catching illustrations, and a good amount of science on the side.

--Lynn

Shelf Awareness--Never Thought I'd End Up Here

YA Review: Never Thought I'd End Up Here

Never Thought I'd End Up Here by Ann Liang (Scholastic Press, 320p., ages 12-up, 9781546110675, June 3, 2025)

In the inviting Never Thought I'd End Up Here, Ann Liang (This Time It's Real) gives the classic enemies-to-lovers trope a fun, fish-out-of-water twist by forcing her Los Angeles-born heroine to take a trip to China with her (now handsome) childhood nemesis.

Seventeen-year-old Leah Zhang was convinced that being a model would turn her from the ugly duckling into the swan. It did, to some extent, but it was also "an all-consuming force" that colored in "every single aspect" of her life. Worse yet, Leah hates being stared at--a huge problem when she realizes she has to offer a toast in Mandarin at her superstitious cousin's wedding. Leah, who generally communicates with her Chinese relatives "via elaborate gestures" rather than the language she barely knows, is given tips on what to say. Stressed and nervous, she accidentally wishes the happy couple a "depressing marriage" and hopes they "fall ill quickly." Leah's horrified mother signs Leah up for a two-week trip to China to immerse her in the language and culture. Unfortunately, "evil" Cyrus Sui, the boy responsible for a deeply humiliating betrayal that "permanently stained" Leah's school records, is also attending.

The pair are repeatedly thrown together, first on the airplane, then as teammates in the group competition, and Leah realizes she can humiliate Cyrus for ruining her life by playing up her flirtation and grabbing hold of his heart. She decides she will demand a public display of "chocolates and balloons and streamers," then laugh "long and loud, right in his face." But first, Leah will need to make Cyrus want her, and she's not immune to his "solemn, dark gaze and the visible cut of his collarbone." To her dismay, Leah becomes increasingly more affected by Cyrus's unexpected tenderness--and his "enviably long" eyelashes.

Liang spins her story with plenty of verve, as Leah develops from being somewhat lost and self-absorbed to a thoughtful young adult. While Never Thought I'd End Up Here is first and foremost a romance, Liang uses humor to explore cross-cultural disconnect and investigate the development of self-worth: as Leah's China trip proves an opportunity for an awkward, "uncultured" girl to learn she is actually worthwhile and "interesting" enough to make her own life choices. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

Shelf Awareness--Everybelly

PB Review: Everybelly

Everybelly by Thao Lam (Groundwood Books, 40p., ages 3-6, 9781773067643)

Everybelly is an amusing, original look at bodies and the idea of home, narrated by an inquisitive youngster who stands tummy-high to their neighbors.

One summery day, a child and their mother join neighbors at a local pool. Readers are first introduced to Mama, whose belly was where the narrator "used to live... until I grew too big." The brown-skinned child wears a flowery long-sleeved swim shirt, pink bottoms, and a polka-dot swim cap, as they discuss their neighbors. "Vibhuti's in a band. They know how to keep a beat"; an unnamed neighbor has a shy belly and prefers "pigeons to people" (which the kid understands because, likewise, they prefer "jelly beans to broccoli"). Also presented are neighbors with tattoos, wrinkled bellies, insulin pumps, appendicitis scars, stretch marks, and bellies that "make great tables." The diverse cast speaks to this child's easy acceptance of all bellies, though they do profess themselves puzzled by "flat" ones: Why do people "work hard to keep their bellies flat" when they can fill them with "ice cream topped with jellybeans, donuts in sprinkles, har gow, gimbap..."?

Everybelly showcases a delightful parade of funny, sweet, and sometimes misunderstood moments. Thao Lam (One Giant Leap) consistently employs a child-centric point of view in language and in her lively, innovative cut-paper collage illustrations. Brimming with goodwill, the child's cheerful spin on everything they encounter creates a welcome place for readers to feel at home. Indeed, Mama's belly, where the child used to live, bookends the story: the book closes with the child resting atop Mama's belly, a place that "will always feel like home." --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.