Holesworth’s intimate debut, the first in a multi-volume memoir, offers a document of a youthful reckoning, charting his school years in the chronic town of Kensington, in northeast Philly, in the 1980s and 1990s, where he found secular salvation in the music of R.E.M. The child of an addict (his father) and a born-again Christian (his mother), Holesworth attended Baptist schools that offered “a make-believe education” that stamped out ambition and creativity. In a childhood of poverty, abuse, and crime, alternative rock’s breakthrough to the mainstream offered Holesworth new models of living, especially in the form of R.E.M. singer/lyricist Michael Stipe. Holesworth first hears “Losing My Religion” on a jukebox—the very title jolted him. What follows is a classic tale of clinging to something new like a life raft and looking to artists for cues about exactly what’s promised by the book’s title (and the eponymous R.E.M. song).

It may be hard to imagine, today, that loving so humane a band could have been a source of controversy. But Holesworth touchingly recalls hiding tapes from his mother and warnings that he might be beat up for loving “gay” music. (He was chased for plenty of other reasons already.) Brightening the gloom of Holesworth’s life of rage, depression, and cutting was Stipe’s deep empathy and commitment to communicating sentiments that matter: “He told the listener that everybody, including himself, hurts, and they’re not alone,” Holesworth notes.

Holesworth’s storytelling is fast and concrete, though it lacks the polished scenecraft of the best memoirs, and he lets the material sprawl, often without a strong narrative thrust. Still, survivors of the era will appreciate accounts of Lollapalooza, making sense of Monster, feeling deeply shaken by XTC’s “Dear God,” and discovering and losing Kurt Cobain. Those public moments are as deeply personal as accounts of teen jobs, running away, relishing mix tapes, and daring to make a bold (yet likely hard to parse) statement on the last day of school. To his credit, Holesworth never talks around a problem or skips the part about love.

Takeaway: Intimate account of a young life saved by R.E.M. and the alt-rock revolution.

Comparable Titles: Jeff Gordinier’s X Saves the World, Peter Ames Carlin’s The Name of This Band is R.E.M.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: B

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Bogaty (author of Loves and Entanglements) weaves a series of loosely connected short stories of people desperately pining for moments and feelings just outside their grasp. In “But Not For Me” and “Nicky and Cat: A Romance,” older males fall hopelessly in love with college-aged women, in parallel relationships that, despite intense feelings, are eventually ended by the women involved, in heartbreaking tones of regret amid desires to experience the world before settling down, heavy sentiment that laments “people’s lives aren’t like this. Nothing is this perfect. It’s not real.”

That elusive wisp of happiness breathes throughout the collection, evoked by the “smoky darkness” of blues singer Elsa, who makes a repeat appearance and sings the background to Jamie’s heartache in the titular story, as he mourns the breakup of his relationship with attorney Abigail and reflects on his “sad procession of women.” Choices that torment the protagonists are a running theme, as with "In Saint-Remy And Auvers," where a pregnant woman teeters on the edge of indecision about whether she should keep her baby and raise it with her partner, musing, after a visit to a Van Gogh museum, that "All I see are Vincent's paths, incongruously converging, each one a wrong choice."

Bogaty touches deeply on how irrational desire can be, as his characters follow their longings despite recognizing it's a bad idea. Not all of those longings are sexual or romantic, however; "Talya, And Dolly's Comb" finds a young Mongolian girl craving acceptance and belonging in Turkey, while Victoria, in "To Grandmother's House We Go," aches for just a few more stolen moments with the one member of her family who “took genuine pleasure from her existence on the earth.” Bogaty forgoes magical healings and happy endings in favor of poignant memories, crafting stories where it hurts to feel this deeply, but it's also what makes his characters human.

Takeaway: Deeply humane collection about loss, yearning, and fleeting connections.

Comparable Titles: Emma Duffy-Comparone’s Love Like That, Ottessa Moshfegh’s Homesick for Another World.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A

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Zienty’s thrilling sequel to Children of the Revolution once again immerses readers in a dystopian world where water is scarce and the Protectorate’s grip is ironclad. Amid those dark circumstances, Angel has found a fragile sense of stability in Bayfield with her partner, Kuba, and her young daughter, Lark, living under the care of Mrs. Wright, a widow seeking the comfort of family. This hard-won stability is upended when Angel encounters two mysterious figures—Path and Word—who recognize the power of her haunting voice, her “vox.” Realizing that securing Lark’s future requires more than just survival, Angel takes on the mantle of “The Night Prophet,” broadcasting messages to hidden rebels to join the movement against the Protectorate.

Zienty uses voice and sound as recurring motifs throughout the narrative, where speaking out in a society that enforces submission becomes an act of rebellion. Path’s persuasive, theatrical tone contrasts with Word’s silence, while Teeg’s steady voice bridges old and new rebels, symbolizing a generational fight for freedom. Zienty’s prose oscillates between the lyrical and the raw, mirroring Angel’s dual life as mother and revolutionary. As Angel’s growing influence draws the eye of the ruthless CQO Zinni, who sees her broadcasts as a dangerous spark that must be extinguished, Zinni’s daughter, Promise—a conflicted ally tied to the Protectorate—becomes an unlikely maternal figure to Lark.

The Night Prophet’s language is visceral, especially in the descriptions of Genesis I, where women, called “ovas," are held in a brutal breeding program, drawing attention to both their exploitation and resilience. Zienty expertly threads themes of courage, sacrifice, and hope as Angel evolves from a survivor into a symbol of defiance, and, with her messages spreading and the seeds of rebellion taking root, The Night Prophet sets the stage for a gripping future clash with the Protectorate, promising a fierce battle for freedom and humanity.

Takeaway: Immersive dystopian thrills tempered by a touching fight for freedom.

Comparable Titles: Alexis Schaitkin’s Elsewhere, Christina Dalcher’s Vox.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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The gripping, all-too-timely kickoff to Zienty’s dystopian series unfolds in a New Midwest where water is scarce, monopolized by the Galt Corporation, and a resilient young woman named Merit navigates life under the oppressive Protectorate, enduring relentless shortages, constant surveillance, and rigid conformity. Merit is expected to “get a feedcom and join the workforce,” like everyone else. But when she discovers the jolting truth of her parentage—and that her mother, long believed dead, may still be alive—Merit dares to flee, discarding her tracking device, and setting out for a rumored sanctuary from Corporate rule in Duluth. Guided by memories of her mother, Serafina, and inspired by her father figure Eben’s rebellious tales and lessons, Merit faces a harrowing path through industrial wastelands and personal loss, transforming into “Angel,” a symbol of resistance.

Zienty’s vision is distinguished by urgent survival detail, a commitment to the textures of living in a broken world, and a rousing sense of humanity. The prose is crisply incisive, literary without fussiness, and both the cast and this fallen America’s history are vividly drawn. Eben’s stories of past rebellions highlight sacrifices of earlier generations, while Tanner, the ruthless Protectorate enforcer, stands as a fresh spin on corporate cruelty, one capable of surprising readers. Touchingly complex motivations abound: Merit’s childhood friend Mars offers a conflicted view of loyalty to the Protectorate, while Suraj joins her fight. Violence, in this world, is an ever-present threat, but rather than offer graphic accounts Zienty instead emphasizes its aftermath through ruined communities, abandoned homes, and the lingering trauma in survivors' minds.

Zienty weaves powerful symbolism around water, mirroring contemporary issues of environmental degradation and corporate overreach. As Angel masters stealth and forms alliances to protect herself and others, her focus shifts to a greater mission: resisting tyranny and seeking fellow rebels who value freedom. This is a gripping story of standing up even when hope is hard-won and freedom a distant dream. Lovers of rebellion narratives will thrill to this.

Takeaway: Urgent, humane story of resistance to corporate rule in a dystopian New Midwest.

Comparable Titles: Alison Stine’s Trashlands, Eiren Caffall’s All the Water in the World.

Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Lovable elephant Chloe Zoe is back in Smith’s picture book series (after It’s Thanksgiving, Chloe Zoe!), and this time she’s learning about all things Irish as St. Patrick’s Day approaches. That includes hunting down four-leaf clovers with her sister, donning green clothes, and cheering for the annual parade—while nibbling on her favorite Charms O’Luck cereal, of course. But Chloe Zoe has more than snacks on her mind. She’s determined to build a leprechaun trap like no other this year at school—and catch a leprechaun who, she is certain, will grant her a very special wish.

Smith once again entertains with whimsical characters experiencing life to the fullest. Young readers not already familiar with St. Patrick’s Day will find plenty to learn about here, and the narrative is just part of the fun; Smith’s brilliantly hued illustrations are bursting with lively, amusing details that add richness to the story. Chloe Zoe’s room sports four-leaf clover bedding and folklore books, and even the colorful drawings hanging at her school ooze St. Patrick’s Day charm. The leprechaun traps that each student crafts are appealingly unique, with some boasting alluring gold coins (“use something shiny as bait” the trap instructions advise) and others, like Chloe Zoe’s, depending on cereal to entice leprechauns their way.

Kids will love Chloe Zoe’s wish—for “a new class pet” as the old one, a hamster named Marshmallow, has gone missing—almost as much as they relish the surprise ending, where that wish comes true in a delightfully unexpected way. Along the way, Chloe Zoe learns how to manage pins-and-needles excitement, nervous anticipation, and a little sprinkle of disappointment as well—all valuable emotional lessons for young readers, especially Smith’s careful attention to how those feelings can play out in our bodies at times. This is a magical holiday treat.

Takeaway: St. Patrick’s Day celebration that teaches kids to recognize difficult emotions.

Comparable Titles: Adam Wallace’s How to Catch a Leprechaun, Lynne Rae Perkins’s Wintercake.

Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A

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O’Connor’s sprightly fiction debut offers a fresh, often funny perspective on World War II through the lens of Jim Tanzer, a thirty-year-old dance instructor making his biggest-ever “pivot turn”: turning soldier, kind of, as part of the U.S. Army's Morale Corps. Serving with Mickey Rooney himself, who steals scenes on the page as handily as on the screen, Tanzer and the corps stage shows like Hip Hooray (formerly Yanks a Poppin) with music, comedy, a wrestling burlesque, and quips like this, from Rooney: “And what does the USO got that we don’t, except beautiful girls!” Soon the Corps is charged with putting on “jeep shows” for combat troops where the action is. Soon, though, Jim is in the action himself, trying to get a stolen German map to the top brass across war-torn Belgium,1944, and the Battle of the Bulge.

This refreshing take on military fiction masterfully balances the gravity of war with unexpected moments of fun and camaraderie, touring readers through the European front with a hero who reads Variety and plans to write a parodic play called Spamlet. The storytelling is fleet and crisp, alive with crack comic dialogue (“Nobody does cross-dress like the Army”), as Jim falls in with a ragtag support unit called Team SNAFU. Says a sergeant: “Summa these numbskulls can’t even know how to march. How they gonna fight?” O'Connor's portrayal of the Battle of the Bulge is both historically accurate and deeply personal for Jim.

The transition from performing for troops to becoming combatants themselves creates a compelling narrative arc, connected to an epochal struggle. Still, even among the novel’s many laughs, O’Connor never diminishes the urgency of the mission of the (fictional) Morale Corps, demonstrating how entertainers brought crucial moments of joy to soldiers amid the brutal reality of combat. This warm, convincing portrayal of backstage banter, improvised performances, and the bonds formed between performers adds layers of warmth and humanity.

Takeaway: Hilarious but rousing novel of a dance instructor facing the Battle of the Bulge.

Comparable Titles: Len Deighton’s Goodbye Mickey Mouse, Martin Turnbull’s Hollywood Homefront Trilogy.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: B+

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Alarmed by research and personal experience suggesting that “the bacterias in our gut control us,” from mood to energy levels to habits to major decision-making, food expert Casper undertook a journey toward not just a healthier and happier life but one of freedom—or “true objectivity—-from outside influence. Casper recounts what he discovered while presenting steps for readers eager to follow in deprogramming the mind and detoxifying the body from the “pollution, chemicals, and toxins” we consume on a daily basis. While gut health is a focus, with recommendations of probiotic foods with little sugar and other measures to help un’”hack” our “second brain,” Casper also calls for a more thorough reckoning with what we take in, from society, media, and corporations, and more. “Negative egocentric or machismo energy does nothing for the collective of humanity,” Casper notes.

From political propaganda to the profit-first motives behind the food industry, The Political Gut is a no-holds-barred look into the human condition, consumerism, and our overall quality of life. Casper is most convincing when exploring, through anecdotes and on-point data, the effects of sugar, alcohol, and toxic chemicals found in the food people ingest, and how and why clear information about this is kept from much of the public. Illuminating connections between media marketing, politicians, and the food industry, The Political Gut reminds readers that "Humans only know what we are told, have learned, and been trained.”

Also persuasive are Casper’s calls for greater empathy and understanding between people and his insistence that we shouldn’t just “pop an antacid, antibiotic, antidepressant” and “pretend everything is fine.” When it comes to the health of public discourse, though, Casper addresses dark and divisive politics in general and often metaphorical terms, arguing broadly that "Toxic food creates toxic humans." Still, approaching toxicity and the manipulation of the public from fresh angles—psychologically, scientifically, politically—The Political Gut offers much to chew on.

Takeaway: Bold journey into gut health, food politics, and the toxicity of our modern lives.

Comparable Titles: Mark Schatzker's The Dorito Effect, Chris van Tulleken’s Ultra-Processed People.

Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: C
Marketing copy: A-

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In a stream of consciousness, debut novelist Bagaev (author of The Debut Project and Other Stories) catalogs the dreams, attitudes, and absurdities of citizens living in a totalitarian dystopia. The vignettes are presented as samizdat errata, material that an “Editorial Committee” has deleted from a government-sanctioned utopian best-seller to preserve the book’s “narrative integrity” and avoid a “descent” into ”literary anarchy.” In these excerpts, readers discover the frozen island nation of Novo Tsarstvo, where the ruthless Tsar rules with violence and doublespeak: “one needs not lay a stone to build utopia; one can convince the rest they live in one already.” Police wear balaclavas and beat citizens indiscriminately, and the military detonates the lethal “Peace Bringer” bomb on the neighboring enemy island in the name of defense.

The collective inhabitants of Novo Tsarstvo attempt to make sense of their dehumanizing existence by imagining fanciful scenarios of how this fascist world came to be and how they can change it. Their fantasies include a professor creating the sadistic police as a race of pig-faced demons, Homo demonicus; a parallel dimension where leaders and newspapers don’t lie and benevolent rulers promote art and science; “television reality” that feeds alternate truths so pervasive that it takes on anthropomorphic form; and the shriveled and feeble Tsar as a marionette manipulated by his officials. Most scenarios are either alarmist or optimistic, but a couple are comical, like one centering on a stalwart woman who ignores the law against owning a cat.

Bagaev’s metaphysical observations strike with chilling accuracy, while the prose, despite the heady invention, is brisk and pointed, the storytelling as fleet as it is wild. A welcome fabulistic playfulness leavens the dehumanizing themes, even as Bagaev explores how a civilization evolves to practice sadism and genocide, the capacity for diverse perceptions of reality, and the steps, however small, that must be taken to right the world’s wrongs. Readers who love outraged play and literary daring will appreciate Bagaev’s pained, vivid vision.

Takeaway: Clever, outraged novel of storytelling in a totalitarian state.

Comparable Titles: Ken Kalfus, Bruno Schulz.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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As the title suggests, this fleet and exciting epic from Johnson (author of When the Magic Finds Them)offers fantasy in a classic vein, alive with weird beasts, wild magic, and a rousing spirit of adventure. Johnson’s tale follows six siblings—Aimee, Erik, Becka, Brian, Kami, and Adam—on a quest to confront the menacing dragon Gwandoya, whose dark presence threatens their family and homeland. As they venture into a mysterious realm filled with dangers and wonders, they encounter a diverse array of mythical creatures, from mugs to wizards, to hideous giants and pixies who can manipulate time, all as the heroes discover both their own hidden magical abilities and their courage, strength, and resilience. This is fantasy for readers who love to know the names of the horses.

Johnson has crafted a vivid, enchanting world, both familiar and surprising, populated by mythical beings seamlessly woven into the story's fabric. Her detailed and playful world-building—featuring forbidden forests, charms and spells put to clever uses, Dreamcasters that project onto a wall, and spells—fully conjure a magical landscape that it’s a pleasure to visit. The story has the appeal of a treasure-hunt, with the siblings constantly on the lookout for magical tools that propel their journey forward, keeping readers hooked with every turn of the page, wondering how each new discovery will be set to the cause.

Pacing is brisk, with action commencing from the very first page and presenting the siblings with a steady stream of challenges. Dreams serve as a key motif, linking the magical world with reality, while Johnson’s clever use of hidden mysteries adds layers of intrigue and suspense, enriching the narrative beyond its fantasy tropes. The sibling dynamics are well developed, with each character’s strengths playing a crucial role and everyone growing throughout the saga. Legends of Caraigdun will resonate with readers seeking immersive world-building and the charm of classic fairytales, reminiscent of the bedtime stories told by a wise elder.

Takeaway: Inspired fantasy adventure in a timeless mode.

Comparable Titles: Patricia C. Wrede, Robin McKinley.

Production grades
Cover: B-
Design and typography: N/A
Illustrations: N/A
Editing: A
Marketing copy: B+

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This hilarious poetry collection for young readers features verses that burst with wit, imagination, humorous characters, risible puns, and even some poignant life lessons. Readers will never guess where these silly poems will end up by their final line, but Knight’s shrewd rhyming, in the tradition of Shel Silverstein and other stalwarts of playful light verse, makes the punch lines feel both surprising and inevitable—anticipating what the next rhyme will be is key to the fun. From the outlandish comedy of pools made with drool or a garden where the flowers have faces (shouting faces!), to useful advice about jealousy, cleanliness, and why you shouldn’t stick your head out of a car window, Tongue Teasers explores a gamut of surprising topics, each explored in rhyme schemes that feel natural on first read but, as the title suggests, may take more than one attempt to master out loud.

Goofball scenarios and eccentric characters—like Bonnie McBower, who bathes until she turns into a bubble, and Bubba Bogans, on a quest to find the "fabled Beedee-Beedee beast" and ask him a question—are blended with verses that sometimes exhibit a sneaky educational bent. "Book Problems" finds paperback Sarah crushing on hardback Ben, whose "print is so fine,” though she just can't get a "read" on him. In "Latitude Jack" young readers learn about latitude and longitude through witty banter between Latitude Jack and Longitude Lou, while the importance of humility powers "Number One,” whose narrator is so self-important no one wants to be his friend.

Some lines tend toward the wordy (“A bad thought can stifle like a thicket of trees. /It wounds and imprisons while it blocks out the breeze.”), though the meter is always clear, and Knight’s verses pulse with inventive twists and turns. Humorous illustrations bring more life to the poems, their somewhat unpolished look emphasizing the human touch of pencil and ink on actual paper.

Takeaway: Charming and hilarious poems for kids and all ages.

Comparable Titles: Shel Silverstein; Karma Wilson’s Outside the Box.

Production grades
Cover: B+
Design and typography: A
Illustrations: B+
Editing: A-
Marketing copy: A-

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Grieving parent Lee sees their life in two distinct parts: before their daughter Rachel’s untimely death, ruled a likely suicide, and after, as they reflect, "There was before Rachel, and there was after Rachel. There were twenty-three years in between. The twenty-three years that were Rachel." As they navigate their new life, Lee travels to a place of spiritual guidance called the Seven Pillars Sanctuary in northern Canada, a safe space for weary souls ruminating on the end of life, most grappling with a terminal illness—a place where the inhabitants intend to "never go home again."

Ring follows Lee’s transformative quest to let go of their pain, reconnect with the world around them, and face the staggering emotional depth of their all-consuming grief. Lerner sketches that journey in muted shades of melancholy, sharp despair, and subtle glimmers of hope, as Lee builds relationships with other sanctuary patrons while piloting their own healing. The result is a heartbreaking narrative from a broken mother, a powerful story of grief’s debilitating effect, that foreshadows Lee’s struggle between ending their own life or rediscovering a new purpose. Lerner tenderly crafts a visceral, emotive bond between parent and child, carefully depicting how the severance of that bond ripples in its aftereffects.

Where Lerner’s debut shines the brightest is in its portrayal of grief as an individual journey, unique to its bearer, and, in Lee’s case, a marriage of philosophical and spiritual beliefs that transform their view on what it means to be alive. Hope takes the form of a sanctuary patron’s dog, Ring, who represents both the enduring attachment Lee feels with Rachel and Lee’s connection to the life still ahead of them. What starts out as a last trip to end it all blooms into an awakening for new beginnings, an awareness of the power behind gratitude, forgiveness, and serving others.

Takeaway: Grieving parent embarks on a transformative journey of healing and renewal.

Comparable Titles: Mark Gunther's Without Jenny, Catherine Ryan Hyde’s Take Me With You.

Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-

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Hoek’s opening scene finds 13-year-old Lisa, on the cusp of adolescence, struggling with the pain from events that are beyond her control and desperately seeking a way out. After an intentional fall from her grandfather’s barn leaves her reeling but still very much alive, Lisa embarks on a journey of self-discovery at her grandfather’s behest, as he shepherds her through loneliness, bullying, grief, and her parents’ divorce, drawing from his work as a psychologist alongside his powerful intuition to help her navigate the uncertainties of growing up.

Lisa’s journey is eye-opening—for herself and her grandfather—and, as the pair embark together on exploring “the secret of life,” their strong bond and mutual respect allow deep, unrestricted emotional surveys and discussions on even the most intimidating topics, with forgiveness, family, and accountability taking center stage. Readers will grasp from Lisa’s journey that transformation can be both beautiful and painful but is worth it in the end, and even her grandfather, struggling with his own guilt and fear, grows to accept his past and come to terms with his own “perceality”—Lisa’s unique way of describing each person’s “version of reality.”

Though Lisa’s insight sometimes feels too mature for her age, it’s still the perfect springboard for readers to reflect on their own lives and recognize that change, while scary, is inevitable. As Lisa embraces that truth, she realizes that the secret to life was within her all along—and that “true self-love leaves no room for pain.” Hoek’s lessons are challenging but rewarding, and the skills Lisa and her grandfather gain throughout the process—journaling, manifestation, meditation, and more—resonate. The Girl Who Changed the World is a touching debut, layered in its delivery, that highlights the complexity of human emotion and self-discovery while focusing on the value of family.

Takeaway: Touching quest of self-discovery for a girl and her grandfather.

Comparable Titles: Paulo Coelho's The Archer, Jason Reynolds’s' Look Both Ways.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-

Click here for more about The Girl Who Changed The World

Beaulieu lovingly explores the history of temporary U.S. Army Camp Haan in this earnest debut. Established in 1940 in Riverside, CA, Camp Haan was put into immediate action training anti-aircraft artillery crews for the Second World War; Beaulieu crafts its background with rich historical texture, thoroughly analyzing the U.S. military prior to World War II before chronicling the camp’s construction process, addressing site location, architectural plan development, and more. Camp Haan’s operation takes a large part of the narrative, as Beaulieu delves into its day-to-day functions, ranging from the camp bakery output to service clubs for its officers to the activities of POW buildings.

Hoping to “grasp a piece of the world that cannot be brought back,” Beaulieu is meticulous in charting Camp Haan’s purpose and operations, and he includes extensive photographs, maps, and schematics designed to resurrect the vibrancy of a rarely mentioned slice of military history. His attention to detail is remarkable: each individual camp tent is carefully plotted, chapel service schedules are reproduced, and Beaulieu goes so far as to jot down which military units traveled through the camp. History buffs will relish the entertaining snippets of daily life Beaulieu captures, like the Desert Sun article requesting that civilians host Camp Haan soldiers for Thanksgiving, or his outline of the wages paid to prisoners of war in exchange for their camp labors.

One conspicuous gap is in firsthand accounts of life in Camp Haan; as Beaulieu notes, he was unable to interview anyone who lived or worked there. That sense of lost history reverberates in Beaulieu’s descriptions of the camp’s current status: entirely dismantled, with only crumbling foundations remaining as a memorial to what once was a bustling military outpost. Beaulieu’s extensive archival research sets this glimpse of history apart, and he closes with several appendices that list Camp Haan’s buildings, known military units, and sample activity schedules.

Takeaway: Earnest and well-researched historical dive into U.S. military Camp Haan.

Comparable Titles: Marge Bitetti and Tony Bitetti’s The Aviation History of Greater Riverside, John H. Baker’s Camp Adair.

Production grades
Cover: A-
Design and typography: B
Illustrations: A
Editing: B
Marketing copy: A-

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Bailey's Olivia Penn Mystery series returns full force with a fourth installment blending small-town charm with high-stakes crime fueled by themes of love and betrayal. At the start, this entry finds advice columnist Olivia sharing a tender moment with her detective boyfriend, Preston, while reflecting on her traumatic past and anticipating two exciting arrivals to Apple Station, Virginia: her father and a carnival. Peace is short-lived, though, as on a routine plant-watering visit to the home of her out-of-town friend Sam, she discovers a pair of mysterious phones stashed in a drawer, one of them ringing. Then, the discovery of a dead carnival worker pushes Olivia back into the role of amateur sleuth—and into the uncomfortable position of keeping a secret.

As always, Bailey offers both small-town charm and smoothly escalating tension as Olivia faces a menacing stranger, a cryptic message, and a request to keep Preston in the dark about key events. The mystery will test Olivia’s new relationship as she goes undercover, pretending to write a feel-good piece on carnival life but actually trying to crack the nostalgic facade of Klein Amusements to expose a sordid truth. Tenacious and engaging as always, Olivia must work with sharply drawn tech-savvy friends, newspaper editors, and carnival workers, all while walking a tightrope between her truths and lies.

The high-stakes plot pits an ordinary columnist against a criminal organization with tendrils up and down the east coast, but Olivia's investigative work remains both credible and entertaining, revealing surprises about carnival life, the business of exotic animals, and more. Bailey's writing radiates compassion: "Everybody thinks we're a bunch of dirty carnies,” declares carnival lifer Aunt Bea. “But the people who work here are family.” That encapsulates Bailey's resistance to caricature, though she never lets her warm humanity come at the expense of danger and surprise—or this entry’s pointed moral indictment of exploitation and how justice gets easily trampled in favor of money and power.

Takeaway: Small-town columnist uncovers deadly carnival secrets in memorable mystery.

Comparable Titles: Dianne Scott’s Final Look, Patricia McLinn’s Caught Dead in Wyoming series.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Evans’s powerful collection renders five uniquely different women fiercely connected by threads of grace, struggle, and the triumph that is womanhood. Each story—aptly titled with a letter that, together, form the word “woman”—features a courageous woman fighting to breathe in a male-dominated world, as in “W,” following Astur, who dissociates during her dangerous childbirth, as her repressed childhood memories of genital mutilation surface, leaving her frightened but resolute in the need to protect her unborn daughter. Evans’s women face down a world that seeks to control them, but readers glimpse their inner resilience as they break the chains that oppress and confine.

Trauma, sexual assault, childhood marriage, and human trafficking are prominent themes strung throughout Evans’s debut collection, and he includes stark facts illuminating the chilling prevalence of those practices at the end of the book. Those specifics paint vivid life into the collection’s central characters, as the objectification of women and their bodies rips through each story—desperate subject matter that Evans balances with tender care and well-developed prose, leaving space for a deep emotional impact. In “O,” young Jasmine fights against her mother’s “protection” to maintain her female anatomy, while New York City’s Nancy, in “M,” falls into a deep depression, on the brink of ending her life, after a brutal assault from a powerful “shareholder.” Of that terrifying encounter, Evans poignantly writes, “She was prey, ready to be swooped up by the predator.”

Fans of nuanced short story collections boosted by strong female leads will embrace Evans’s portrayal of the dark acts threatening destruction of womanhood, as he draws readers in and bridges a fiery connection with them, leaving them breathlessly hoping for each woman’s salvation from their enduring traumas. And that hope brightens even the most dismal corners of the collection, as one woman sharply reflects that “a soul bathed in hope [is] a threat.”

Takeaway: Powerful short story collection highlighting women’s resilience.

Comparable Titles: Kathleen Courtenay Stone's They Called Us Girls, Simone De Beauvoir's The Woman Destroyed.

Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-

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When war begins in Ukraine, young Artem and his mother must travel alone to Poland, bidding his father, who is staying behind to fight as a soldier to protect their home country, goodbye. Sad and scared about the changes his family and country will face, Artem nevertheless puts on a brave face as he acclimates to his new life in Przemysl. At The Welcoming Center, he meets many other young children—all starting over in Poland—and is touched by the kindness of others, specifically from a volunteer named Paolo who prepares food for Artem and the other refugees.

Meanwhile, in America, a young girl named Hannah sees what is happening a world away and feels compelled to help any way she can. After a bit of research, she comes up with the idea to make "Freedom Pancakes"—potato pancakes called "deruny" in Ukraine—and sells them to her community, raising donations for the war-torn country. That heartwarming sentiment in the face of destruction and terror runs steadily throughout, teaching young readers the impacts of war, how to stay brave in the face of new beginnings, and how even the smallest acts of kindness can change the world.

Cohn’s narrative pulls inspiration from real life people, including Paolo and also Hannah Skelton—the basis for this book’s Hannah—who, at six years old, raised money for children’s causes in Africa, and Yana Holubiatnikova’s evocative illustrations, created in Ukraine, bring poignant and dramatic life to the story’s setting. Cohn’s passion for helping others is touching and will energize young readers to discover their own concern for those facing hardship, a theme that Cohn follows up with end-of-book resources offering creative ways to help families around the world. Ultimately, the kindness Artem receives sparks his desire to pay it forward, in a sweet closing note that will leave readers uplifted and impassioned for change.

Takeaway: Moving children’s story about helping others during times of war.

Comparable Titles: George Takei's My Lost Freedom, Sarah Musa's My Garden Over Gaza.

Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A

Click here for more about Freedom Pancakes for Ukraine