An immersive, compassionate tale about coming-of-age in a single night.

MAYBE WE'RE ELECTRIC

Tegan’s world was unraveling before Mac stumbled into the museum; tonight could change everything.

Tegan misses her father and disdains her mother, now happy with her live-in partner, Charlie. After a fight with her mom, Tegan’s taken refuge after hours at the Thomas Edison Center, where she’s been an intern. Born with just a thumb and ring finger on her left hand and perennially hyperaware of her appearance, she’s shocked and embarrassed when Mac, a classmate and popular jock, arrives—his hand bleeding—and asks her to call 911 to report a potential suicide. Tegan complies, then tends to his wound. She’s been crying and ran outside in old clothes but recognizes Mac is frazzled, too. At a loss, she gives him a museum tour. Over the long, snowy night, they connect. Mac’s trusting willingness to share difficult life events disarms Tegan, awakening a yearning to share her own, more toxic secret despite the risk. Despite unnecessarily schematic plotting (key information is initially withheld), the story and characters will sustain reader interest. Emmich captures the excruciating self-consciousness and lacerating self-talk of adolescence, magnified and relentlessly scrutinized through social media and here exacerbated by Tegan’s limb difference and fractured family. Tegan’s struggles to reconcile her longing both for invisibility and to be seen and understood are compelling, familiar, and moving. Most characters are presumed White; Charlie is Black, and Tegan’s best friend is Indian American.

An immersive, compassionate tale about coming-of-age in a single night. (Fiction. 14-18)

Pub Date: Sept. 21, 2021

ISBN: 978-0-316-53570-0

Page Count: 320

Publisher: Poppy/Little, Brown

Review Posted Online: July 8, 2021

Kirkus Reviews Issue: Aug. 1, 2021

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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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This grittily provocative debut explores the horrors of self-harm and the healing power of artistic expression.

GIRL IN PIECES

After surviving a suicide attempt, a fragile teen isn't sure she can endure without cutting herself.

Seventeen-year-old Charlie Davis, a white girl living on the margins, thinks she has little reason to live: her father drowned himself; her bereft and abusive mother kicked her out; her best friend, Ellis, is nearly brain dead after cutting too deeply; and she's gone through unspeakable experiences living on the street. After spending time in treatment with other young women like her—who cut, burn, poke, and otherwise hurt themselves—Charlie is released and takes a bus from the Twin Cities to Tucson to be closer to Mikey, a boy she "like-likes" but who had pined for Ellis instead. But things don't go as planned in the Arizona desert, because sweet Mikey just wants to be friends. Feeling rejected, Charlie, an artist, is drawn into a destructive new relationship with her sexy older co-worker, a "semifamous" local musician who's obviously a junkie alcoholic. Through intense, diarylike chapters chronicling Charlie's journey, the author captures the brutal and heartbreaking way "girls who write their pain on their bodies" scar and mar themselves, either succumbing or surviving. Like most issue books, this is not an easy read, but it's poignant and transcendent as Charlie breaks more and more before piecing herself back together.

This grittily provocative debut explores the horrors of self-harm and the healing power of artistic expression. (author’s note) (Fiction. 14 & up)

Pub Date: Aug. 30, 2016

ISBN: 978-1-101-93471-5

Page Count: 416

Publisher: Delacorte

Review Posted Online: May 4, 2016

Kirkus Reviews Issue: May 15, 2016

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