Tammy’s life quickly becomes chaotic after her Uncle Ellis’s suspicious drowning, especially once she inherits his estate—and reconnects with Jace Eubanks, a high school love who abandoned her decades ago to marry someone else. The scars from that betrayal still run deep, and the rekindling of their relationship adds layers of complexity to Tammy’s already fraught emotional landscape. Brewer plays off those dynamics in the push and pull Tammy feels between her old life and her new troubles; her mother, Ruby, who embodies old-school Southern charm, fervently hopes that her daughter will resist the temptation to investigate her uncle’s death, but, of course, Tammy can’t turn down the chance to get back in the game.
Brewer—author of Frankie’s Journey, among other romance titles—is clearly committed to clean, values-driven storytelling, which plays out here in moments like Tammy’s mother insisting she attend gospel meetings and then demanding that Tammy pause her investigation to prepare casseroles for a grieving family. Sporadic, first-person chapters provide a chilling glimpse into the killer’s mind, and Brewer deftly weaves together multiple murders, crafting a compelling and suspenseful plot with a satisfying mix of mystery, romance, and small-town intrigue.
Takeaway:Home and heart win out in this small town American murder mystery.
Comparable Titles: Elly Griffiths’s The Postscript Murders, Anne-Marie Meyer’s The Magnolia Inn.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Richardson’s description of Pem’s harsh childhood, the poverty, and lack of opportunities is both sensitive and authentic; by placing those experiences in the broader cultural, economic, and social conditions of Nepal, she gives them context and breadth. Pem and Moni’s personalities dazzle, etched through small incidents like their rocky start together, when Moni, irritated that Pem kept her awake at night chattering with his friends, did her best to ignore him—but eventually succumbed to his bold courtship. Richardson’s account of their Everest summit bid—which culminated in their marriage at the top and Moni’s record of the first Newari woman to make the climb—is rich in detail, capturing the challenges of Moni’s snow blindness, a constant lack of oxygen, and lurking evils of frostbite and hypothermia.
The book’s highlight is the deep respect and empathy that Richardson has for her subject, as she narrates Pem’s boyhood in Chyangba in nuanced and evocative tones, devoid of sensationalized portrayals, and recounts the courage and determination of both Pem and Moni as they achieve U.S. citizenship—an even “greater challenge than climbing Everest,” according to Pem. This is a crisp, inspiring account not just of scaling a deadly summit, but of life itself.
Takeaway: Exhilarating account of a Nepali Sherpa’s dauntless spirit amid a challenging life.
Comparable Titles: Ed Douglas’s Tenzing, Eric Shipton and H.W. Tilman’s Nanda Devi.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Wammack again examines moments where civilization flowers. This time, the leap involves class, as the Olympians remove themselves from the rabble, building towers, demanding tribute, and elevating lords to run things, distracting themselves with schemes and orgies. Without losing sight of the dawn-of-humanity stakes, Wammack emphasizes the meetings that keep things running as a cast of Olympians, Titans, and Oceanids makes hilariously un-godly declarations like “We just need some organizational changes.”
The narration, though, remains at an Olympian remove, emulating the declarative nature of ancient texts. The novel is heftily long, purposefully lacking much interiority but packed with incident, discussion, and philosophical inquiry, especially on the part of Dionysus, a figure of real pathos. Much of this is funny, presented in brisk scenes often powered by moral outrage, especially once people begin to think of the Olympians as gods—a development the gods prove happy to exploit and that Wammack, in his provocative, wholly original way, demonstrates as tragic.
Takeaway: Boldly satiric epic novel of the evolution of Olympian godhood.
Comparable Titles: Marie Phillips’s Gods Behaving Badly, Steven Mithen’s After the Ice.
Production grades
Cover: B
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A-
As Charly fights those feelings, Dom and Jax wholeheartedly pursue her, nearly from the start of this racy novel. Members of the Iconic Sons Motorcycle Club, a group Charly suspects is not on the up-and-up, the men exude an animal sensuality, using and discarding women for their own empty gratification—until Charly comes along. Steele renders their devil-may-care attitude toward the one-night stands in their lives remarkably well, while still sketching a deeper, caring side to both men that resonates with Charly. Something about Charly strikes Dom and Jax differently, immediately sparking an explosive yearning between the three that sets them on a path to betrayal, abandon, and delicious, steamy sex.
The central relationship in Steele’s novel is unconventional, but she still hits all the right spots for romance fans. Charly needs rescuing, multiple times, and both Dom and Jax are more than up to the task, demonstrating impressive depth for two unattached playboys. Steele transforms their pursuit of Charly into a reflection on belonging, particularly once Charly learns that Dom’s history isn’t much different from her own. Their time between the sheets takes center stage, but Steele uses that as a springboard for a tender—if unorthodox—celebration of love’s enduring bonds.
Takeaway: Steamy love triangle with surprising depth.
Comparable Titles: Beth D. Carter’s Sin, Leah Brooke’s Every Breath.
Production grades
Cover: A-
Design and typography: A-
Illustrations: N/A
Editing: B+
Marketing copy: A
Shank (author of The Mystical Land of Myrrh) acknowledges an absence of factual information on Juana’s life, noting the liberties she takes to fill in those blanks—the end result of which is a stunning tapestry of one woman’s unusually brilliant spark. Juana’s larger than life personality consumes the pages of Shank’s novel, materializing in Juana’s delicately intense writing, perseverance in the face of tragedy, determination to be herself no matter the cost, and passionate love for Maria Luisa, the viceroy’s wife who, in real life, ensured some of Juana’s works were published in Spain. Just as she gives herself fully to Maria Luisa, so, too, does Juana devote herself to the Catholic Church, even when it sanctions her creativity and summons its considerable power to muzzle her talents.
Historical fiction fans will devour Shank’s story, enriched with historically accurate details throughout, including Juana’s nemesis, the Archbishop Francisco de Aguiar, who manipulated church doctrine to silence her outspoken writing, and 1695’s devastating plague, confined primarily to Juana’s San Jeronimo’s Convent, that eventually took her life. This penetrating novel portrays the many sides of an extraordinary woman, who dared to love, create, and pursue the question, “should I dare to fly?”
Takeaway: Stunning reimagining of the inspiring life of Sor Juana Inés de la Cruz.
Comparable Titles: Alicia Gaspar de Alba’s Sor Juana’s Second Dream, Paul Anderson’s Hunger’s Brides.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Rob’s journey finds him grappling with the morality of his actions to protect his daughter, as he navigates through a landscape devoid of transportation and communication, scavenging for resources and avoiding confrontation with those who have turned to violence in the absence of law and order. In the same vein, Ann, increasingly frustrated by campus restrictions, fights the manipulative Sergeant Williams and her violent accomplice, John, in her efforts to return home, fearful that the lockdowns, surveillance, and uncertainty have become her “new world.”
Adkins’s first-person narrative, alternating between Rob and Ann, builds tension effectively, immersing readers in their emotions and experiences, while the novel’s focus on the psychological and emotional effects of the apocalyptic event provides a profound exploration of humanity on the brink of chaos. As Rob reflects that “personal morals will change when you experience enough need, greed, or danger,” he also wonders just how far he’ll go to save Ann, a fear that’s justified as his quest progresses. Homebound is not just a story of survival but a study on the lengths people will go to protect those they love.
Takeaway: A father and daughter fight to reunite after a devastating EMP strike.
Comparable Titles: William R. Forstchen’s One Second After, Harley Tate’s The Darkness Trilogy.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Patton Mountain eschews traditional spy heroics, instead charting the careers of Horst and others over a decade of scheming and eventually war with striking and persuasive detail, attentive to inner-Reich politics and culture, military tech, and affairs of the heart. As Hitler and Himmler pressure subordinates to develop the war-changing bomb, Horst falls for a young “Valkyrie” of German espionage, Heidi, on assignment in a Nazi-run nightclub in Tennessee, near a plant connected to the Manhattan project. Horst’s journey will, eventually, find him taking bold action to save many lives, but he does so for his own reasons, including love, betrayal, and “to assure a future for my homeland and that of Aryan Europe.”
Feldman complicates his lead Nazis—Heidi comes to love swing music and befriends Count Basie—without whitewashing beliefs or deeds. Vicious acts by less prominent villains, like several graphic rapes including one of a Jewish teen in a camp, are harrowing and outraged but also queasily detailed. Feldman’s prose rarely cues readers to sympathize with Horst, but Patton Mountain still spends its many hundreds of pages in the minds and hearts of Nazis, limiting its appeal to general audiences.
Takeaway: WWII espionage epic of a Nazi who betrays the Reich.
Comparable Titles: Hans Fallada; V.S. Alexander’s The Traitor.
Production grades
Cover: B-
Design and typography: B
Illustrations: N/A
Editing: A-
Marketing copy: A-
Ferruzzi shines a light on oceanic pollution issues in this watery adventure, incorporating educational facts with a fast-paced storyline that teaches young readers the importance of environmental cleanup. Along the way, they’ll learn fun facts about mice and whales from the additional resources included in the back half of this engaging story—like the tidbit that mice eat 10-15 percent of their body weight daily, or that blue whales hunt smaller prey because their throats are only a few inches wide.
Young readers will be drawn in by Stu Suchit’s multi-textured illustrations, particularly Malcolm’s flashy clothes (a plaid dinner jacket and mismatched bow tie complete his fine dining attire) and carefully side swept hair. The juxtaposition of a tiny city mouse with an immense whale highlights the heartfelt message that no matter how big or small, anyone can make an impact on the world, and, by working together, we can “find a solution for ocean pollution.” In the backmatter, Ferruzzi includes pointers for decreasing plastic waste, healthy eating tips, and a brief lesson on sustainability, accompanied by none other than a handful of Malcolm’s favorite recipes, like a fruit and vegetable based super smoothie. This fun tale will spark creative problem solving in readers of all ages.
Takeaway: An aquatic adventure with an important message about ocean pollution.
Comparable Titles: Stephanie O'Connor's The Whale Who Ate Plastic, Michelle Lord's The Mess That We Made.
Production grades
Cover: A-
Design and typography: A
Illustrations: B+
Editing: A
Marketing copy: A
Scripps introduces conflict right away in this celestial adventure, as Ruby’s desk harbors a dangerous dictionary listing all the signs that make auras glow on Earth, called The Portfolio of Light—a book that no human is supposed to see because it can “mess up the natural balance on Earth.” The story unfolds from the present day as well as from Ruby’s memories of her previous Starland trip, where her presence caused Starland’s Light Beings to feel "the shivers," throwing the magical planet into unbalance and chaos. There, Ruby first learned what an aura is (“a tiny happiness lamp that every human has,” according to the Light Being Aurora), why the Dark Beings were set on stealing the light from both Starland and Earth, and how she may just be the human destined to "[stop] the Dark Beings from dimming Earth's light for good.”
Plagued with typical adolescent struggles, Ruby also has the added pressure of this secret mission weighing on her, which builds tension and adds layered complexities to the story. Filled with secrecy, betrayal, and magic, Ruby’s larger-than-life quest to save two worlds from being consumed by darkness will enthrall young readers.
Takeaway: Cosmic middle grade quest to save two worlds from darkness.
Comparable Titles: Angela Cervantes's The Cursed Moon, Angie Thomas's Nic Blake and the Remarkables series.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: A
Mahina, ever the dreamer, refuses to be tethered by fear and, though plagued with guilt, defies her Tutu. When a hurricane destroys Po'okela Academy, Mahina dares an idea inspired by her dreams—a fundraising concert to rebuild her school—and enlists the help of her best friend, Koa, and her supportive teacher, Ms. Reynolds. What unfolds is a dangerous yet soaring journey where Mahina discovers that the Moemoeas’ irresistible powers are far more than a curse, through secret trips to the lava tubes, bouts of sleepwalking and nightmares, and the growing realization that her visions might even hold the key to combating climate change.
Blending magical realism and Hawaiian lore, Blossom (author of Horse Boys) offers a timeless story, rich with Hawaiian culture, and implores readers to contemplate the power of dreams and the fears that often stifle them, with lovable characters who embody the courage of the next generation. Tutu's words, "the power is not in the dreams. It is in you," resonate throughout, a reminder that dreams mean nothing without action. Mahina Rises is a powerful call for guardians to nurture their children's dreams and for the young to believe they can make a difference in a world ravaged by greed. This is an urgent read on caring for our planet.
Takeaway: Soaring adventure of two kids who combat climate change.
Comparable Titles: Axie Oh's The Girl Who Fell Beneath the Sea, Peter Brown's The Wild Robot.
Production grades
Cover: B-
Design and typography: A-
Illustrations: N/A
Editing: A
Marketing copy: A-
“People have lost family, land and houses—but not the pride in who they are,” says Aboud Ahmed, in Ramallah, a college student who reminds Patinkin of the diversity of belief and thought among Palestinians, pointing out “We’re not a Muslim monolith.” Visiting Palestinians in Ramallah, including people he had met in the early 90s when he was covering the first Intifada, Patinkin reports encountering anger but also incredible hospitality and painful stories of occupation and seeing rights were stripped by the Israeli government. The interview subjects don’t offer much hope of peace anytime soon, with even a one-time Israeli “peacenik” saying, of civilian casualties, “I hate it. But I don’t think we should stop.”
Patinkin’s approach of allowing people to tell their stories reveals patterns: speakers on both sides believe their claim to the land is irrefutable, beliefs that the escalation of violence confirms for them. Patinkin leaves readers with the hopeful story of a Muslim/Jewish husband and wife who have created a mixed-faith school for young children as a way of trying to transcend these differences. Without explicitly saying so, Patinkin suggests it will take new modes of thinking to stop the conflict, and it's this gentle, humane approach that makes this such a moving work of narrative journalism.
Takeaway: Deeply humane accounts of life on both sides in Israel and Gaza after October 7th
Comparable Titles: Cathy Sultan’s Israeli and Palestinian Voices;Ben Ehrenreich’s The Way to the Spring
Production grades
Cover: A-
Design and typography: A-
Illustrations: A
Editing: A
Marketing copy: A
Olivia’s story is heartbreaking, made more chilling by the knowledge that Bowers experienced related horrors through his COVID-19 hallucinations. The juxtaposition of Olivia—a fresh-faced teen on the cusp of her 16th birthday—with later scenes of her brutal treatment at the hands of a remorseless cartel leader proves jarring, and Bowers’s trigger warning is definitely warranted. Beyond the shocking abuse, the novel is awash in often awkward and gratuitous sex and sexual references, from frequent comments on how Olivia’s body is “filling out” to the narrator’s compare-and-contrast appraisal of Olivia’s mother’s body (“nice breasts that would make any man’s mouth water”) and Olivia’s own. Like icky speedbumps, those descriptions—including a helicopter rape scene played for shock—disrupt the narrative more than they add depth or context.
Bowers hints at larger conspiracies behind the horrifying circumstances the Schultz family faces, particularly when it becomes evident the US government and DEA know more than they’re admitting. The ending has a staggering twist that readers likely won’t see coming, though the path to get there is littered with Allen reliving Olivia’s ordeals through “artifacts” he requests through the Freedom of Information Act. Readers may want to start with Bowers’s memoir to anchor the events of this unsettling novel.
Takeaway: Unsettling story of a teen girl’s kidnapping and brutal treatment by a cartel boss.
Comparable Titles: Karen D. Scioscia’s Kidnapped by the Cartel, Roger Dean Fischer and Debbie Viguié’s Cartel Heat.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: B
Marketing copy: B
Authors Wells and Barclay started this darling series with the hope of giving young readers a glimpse of the big, bright world around them, and this first installment does just that. Charlie is an adorable lead, sprinting and wagging his way through a city that’s teeming with flashy new experiences. He touches on the activities that are just pure fun—like sampling famous New York City pizza—while also perusing monumental landmarks, including Lady Liberty, who “holds her torch with pride,” and One World Trade Center, a towering monument to the power of hope. Sanna Sjöström accompanies those iconic landmarks with textured watercolor illustrations that transform each scene into a work of art, from the fluffy zoo penguins to the swank contours of Charlie’s Broadway play.
Younger readers will revel in Charlie’s adventures, experiencing NYC’s splendors from the comfort of their homes. Of course, Charlie returns safely home—“his favorite place”—at the end of a fun-filled day, ready to rest up for his next journey. The authors close with a brief description of the famous landmarks Charlie visited throughout the story, along with question prompts to help readers personalize his excursions, making this a series kids will relish returning to in the future.
Takeaway: Adorable story of a pup with wanderlust and the Big Apple.
Comparable Titles: Natalia Diaz and Melissa Owens’s A Ticket Around the World, Kari Allen’s The Boy Who Loved Maps.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Promising to be “your sherpa through this wild journey of understanding your Gen Z child or your Gen Z friend, and better yet, cherishing that relationship with them,” Whitmire goes above and beyond in his attempts to accurately analyze Gen Z, sharing a wealth of research and statistics that offer fascinating tidbits about this captivating generation. Those range from their tendency to spend at least 6 hours a day online, their chummy relationship with Google to answer all of life’s questions, and their overwhelming preference to text before talking. Whitmire’s relaxed style may seem cheeky at first, but readers shouldn’t take that to mean he’s trivializing Gen Z’s contributions; “this generation does not lack motivation or ambition,” he writes—“they were born and bred… to dream big.”
Whitmire does a masterful job explaining the thoughts and objectives of Gen Z—honesty and transparency are key, he asserts—and provides sensible, actionable advice to readers seeking to understand them. He also offers a glossary of Gen Z expressions (covering sayings like “no cap” and “sus”) to help older generations communicate with and develop “genuine understanding and respect for the generation shaping our future.” Celebrating differences is essential, Whitmire urges, and this clever offering does just that—with a healthy serving of playfulness along the way.
Takeaway: Savvy guide to understanding Gen Z for older audiences.
Comparable Titles: Ryan Jenkins’s The Generation Z Guide, Darrell E. Hall’s Speaking Across Generations.
Production grades
Cover: B
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A-
A quick summary can’t do justice to the scope of The Tides of March, a novel fascinated by the history and culture of Japan, by the processes of detectives, fishermen, samurai, serial killers, and more, and by the ways that each major character’s convictions on law, justice, and other heady topics reflect Japan itself. That richness of ambition, combined with Price’s wordiness and eagerness to examine every moment in the detail, means the text is often dense, especially in opening chapters, which tend toward the discursive—especially for a novel with pulpy beheadings, corruption, and a serial killer to come. Readers who persevere will find excitement and many surprises, spanning history and worlds, plus international intrigue, wild murders, and an overall spirit of gusto that’s rare in such a thoughtful novel.
Scenes of confrontation, disaster, and otherworldly presences are vivid and unpredictable, while the pained camaraderie between the Kurosawa siblings, cursed by their grandfather’s actions, is affecting. The detectives’ pointedly tasteless banter, meanwhile, can prove exhausting, but readers on Price’s wavelength may relish it.
Takeaway: Genre-bending but wordy epic of cops, contemporary Samurai, and corruption in Japan.
Comparable Titles: Steve Bein, Peter Tieryas’s United States of Japan series.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: C+
Marketing copy: B-
From the start, Claire comes across as a closed-off child, bullied by her parents; in response, she fashions a set of rules to keep herself out of everyone’s hair (“Hide-What-You’re-Really-Thinking” and “Apologize-Often” are just two of those). Comparatively, she is always at ease around animals, who she tends to gravitate towards, and Vogel scatters this entertaining plot with snakes, dogs, horses, and frogs, all of whom draw out the real Claire and show readers a side of her rarely revealed around other humans.
Since the novel is based in Saudi Arabia, Vogel utilizes numerous references to Arabic words, local customs, and myths, all conveyed via the sensitive gaze of a curious 12 year old. But also intriguing is the proliferation of biblical references, particularly in the second half of the book, which help Claire make sense of the inexplicable events she’s facing and culminate in her “liberation,” as readers see her finally open up and come into her own. The end result is an informative, enlightening YA novel that explores the traditions of foreign culture while bringing biblical stories to life. Lovers of magical realism, animals, and coming-of-age adventures will embrace this heartwarming story.
Takeaway: Beautiful coming-of-age fusing foreign culture with biblical stories.
Comparable Titles: Kami Garcia and Margaret Stohl’s Beautiful Creatures, Maggie Stiefvater’s The Raven Boys.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: B+