Like a meringue—sweet and decorative but doesn’t really satisfy.

AMELIA UNABRIDGED

A grieving young woman sets out on a quest to meet her favorite reclusive fantasy writer.

As a joint high school graduation gift from Jenna’s parents, narrator Amelia and her best friend, Jenna, fly from their home in Texas to a California book festival so they can meet the reclusive author of the Orman Chronicles books. They leave disappointed, however, when young author N.E. Endsley—only 19—fails to appear. Less than a week later, Jenna dies while studying abroad in Ireland, a last fight between the girls left unresolved. Shortly thereafter, Amelia receives a mysterious limited edition of one of the Orman books, sent from a bookstore in Michigan. Jenna’s parents, who have the financial means and have been treating Amelia for years, pay for her to go investigate; in a somewhat fairy-tale setting on Lake Michigan she meets and befriends Nolan Endsley, who’s grieving losses of his own. Schumacher’s debut meanders through vague fantasylike settings—a fort on the sand dunes, a mysterious room inside the bookstore—and a sort of half-felt emotional landscape of its characters. Nothing’s really at risk for Amelia—at every turn, obstacles are smoothed from her path. Some of her relationships, especially with her parents, who mostly stay off-camera, are shown instead of felt. The timeline of Nolan’s own tragedies and wild successes seems oddly compressed. Main characters are White.

Like a meringue—sweet and decorative but doesn’t really satisfy. (Fiction. 12-18)

Pub Date: Feb. 16, 2021

ISBN: 978-1-250-25302-6

Page Count: 304

Publisher: Wednesday Books

Review Posted Online: Nov. 12, 2020

Kirkus Reviews Issue: Dec. 1, 2020

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Engrossing, contemplative, and as heart-wrenching as the title promises.

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THEY BOTH DIE AT THE END

What would you do with one day left to live?

In an alternate present, a company named Death-Cast calls Deckers—people who will die within the coming day—to inform them of their impending deaths, though not how they will happen. The End Day call comes for two teenagers living in New York City: Puerto Rican Mateo and bisexual Cuban-American foster kid Rufus. Rufus needs company after a violent act puts cops on his tail and lands his friends in jail; Mateo wants someone to push him past his comfort zone after a lifetime of playing it safe. The two meet through Last Friend, an app that connects lonely Deckers (one of many ways in which Death-Cast influences social media). Mateo and Rufus set out to seize the day together in their final hours, during which their deepening friendship blossoms into something more. Present-tense chapters, short and time-stamped, primarily feature the protagonists’ distinctive first-person narrations. Fleeting third-person chapters give windows into the lives of other characters they encounter, underscoring how even a tiny action can change the course of someone else’s life. It’s another standout from Silvera (History Is All You Left Me, 2017, etc.), who here grapples gracefully with heavy questions about death and the meaning of a life well-lived.

Engrossing, contemplative, and as heart-wrenching as the title promises. (Speculative fiction. 13-adult).

Pub Date: Sept. 5, 2017

ISBN: 978-0-06-245779-0

Page Count: 384

Publisher: HarperTeen

Review Posted Online: June 5, 2017

Kirkus Reviews Issue: June 15, 2017

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Riveting, brutal and beautifully told.

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WE WERE LIARS

A devastating tale of greed and secrets springs from the summer that tore Cady’s life apart.

Cady Sinclair’s family uses its inherited wealth to ensure that each successive generation is blond, beautiful and powerful. Reunited each summer by the family patriarch on his private island, his three adult daughters and various grandchildren lead charmed, fairy-tale lives (an idea reinforced by the periodic inclusions of Cady’s reworkings of fairy tales to tell the Sinclair family story). But this is no sanitized, modern Disney fairy tale; this is Cinderella with her stepsisters’ slashed heels in bloody glass slippers. Cady’s fairy-tale retellings are dark, as is the personal tragedy that has led to her examination of the skeletons in the Sinclair castle’s closets; its rent turns out to be extracted in personal sacrifices. Brilliantly, Lockhart resists simply crucifying the Sinclairs, which might make the family’s foreshadowed tragedy predictable or even satisfying. Instead, she humanizes them (and their painful contradictions) by including nostalgic images that showcase the love shared among Cady, her two cousins closest in age, and Gat, the Heathcliff-esque figure she has always loved. Though increasingly disenchanted with the Sinclair legacy of self-absorption, the four believe family redemption is possible—if they have the courage to act. Their sincere hopes and foolish naïveté make the teens’ desperate, grand gesture all that much more tragic.

Riveting, brutal and beautifully told. (Fiction. 14 & up)

Pub Date: May 13, 2014

ISBN: 978-0-385-74126-2

Page Count: 240

Publisher: Delacorte

Review Posted Online: March 17, 2014

Kirkus Reviews Issue: April 1, 2014

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