"For me, Denver meant the past would encroach," Suzanne says. Still, she reluctantly approves with an agenda in mind: uncovering her dad's history may provide answers to her son Austin's undiagnosed cognitive and behavioral lapses. Suzanne's story, both past and present, is an unflinching portrayal of a family gone haywire, when, in the face of tragedy, communication lacks and secrecy builds. Swanson (author of The Glass Forest) cranks up the tension between well-drawn leads—Suzanne’s rebellious teenage daughter, Caitlin, seethes with jealousy over the attention Austin receives, their home becomes a target of a suspicious intruder, and her husband is becoming cozy with his coworker.
Despite the narrative's slow burn and somewhat predictable past, the clever use of alternating timelines keeps readers on their toes as they follow the young Suzanne sneaking to decode Mom-not-Mom's cryptic warnings juxtaposed with the adult Suzanne, who might be bordering on insanity. Alex's on-point words, "what we feared most was what we most needed to confront," overarch the central theme in this satisfying blend of supernatural and coming-of-age mystery—that children require a parent’s unequivocal attention, for childhood shapes the kind of person we eventually become.
Takeaway: Grieving, clairvoyant teen unravels the mystery of her mother’s murder.
Comparable Titles: Rene Denfeld’s The Child Finder, Nova Ren Suma's Imaginary Girls.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Every chapter races in this fleet-footed debut, teeming with twists and last-minute developments that will shock readers. Even as she slogs through the grief from her father’s death, Madison discovers something sinister behind the hit-and-run—and finds she’s caught in the crosshairs of the FBI’s manhunt for America’s most wanted, embroiled in the center of a national crisis. Pederson delivers an ostensibly overwhelming array of characters—terrorists, FBI agents, CIA operatives, corporate bigwigs—while masterfully anchoring the narrative in shared trauma, humanizing the political and wartime stakes. Even the typically stoic FBI becomes engaging, with Agent Niles poignantly reflecting on his 9/11 experiences: "Suddenly the trumpet wasn’t the most important thing in the world to me—not with all that evil, that darkness, attacking, coming right at us, threatening all of us, our way of life."
Though the portrayal of terrorists might feel one-dimensional at times, Pederson skillfully splices information across various viewpoints, encouraging readers to form their own opinions on the events of 9/11. Reflecting that the fallout from the attacks lingers long after the dust has settled, Pederson takes a stand: instead of hatred and revenge that create a vicious cycle of violence, choose forgiveness and life.
Takeaway: Knockout espionage novel exploring trauma, vengeance, and self-forgiveness
Comparable Titles: Jason Matthews’s Red Sparrow, Brad Thor's The Athena Project.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Several chapters deal with serious incidents: learning that his stepfather has cancer and facing the deaths of a family friend and also of a favorite teacher, whom readers of Misfit 2 will recall. These tales of loss give this collection a slightly more melancholic tone, as does the conclusion of a star-crossed romance, though that’s balanced out by wry wisdom and amusing anecdotes, some putting a new spin on familiar settings, like a pungent recollection of the rigors of cleaning the facilities of a tour boat he captained.
A few stories will seem familiar to readers of earlier entries. But there are still some surprises, including how the author got a job teaching in the Middle East. And we also get a closer look at his life in Ecuador, in a house of rammed-earth walls on a road that "aspire[s] to gravel." John's manner of exposition remains as roundabout as ever, taking unpredictable swerves— a yarn about seeing a porn film in a small Midwest town begins with Jaws and ends with an aside about UAE brothels. But the journey, however elliptical, is most of the fun, and brief mentions about witnessing an execution indicate John has more yarns left to spin.
Takeaway: Amusing, surprising stories about growing up, living abroad, and finding yourself.
Comparable Titles: V.D. Bucket’s Bucket to Greece series, Aisha Shakti Hakim’s An American Teacher in the UAE.
Production grades
Cover: C
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Mister John presents these tales out of chronological order, and often without context or connective tissue, which initially makes the far-flung peregrinations hard to track: readers are whisked from his time as a teacher in the United Arab Emirates to his stint as a boat pilot and tour guide in his native Wisconsin to a Canadian crabbing expedition with his wife's family, all without much fanfare or preparation. The subject matter is mostly humorous but can also be serious; one chapter briefly and effectively deals with the unexpected death of his future mother-in-law, early in his relationship with his then-girlfriend.
Not every story here feels essential—an account of kicking a UAE student out of class for playing computer games, for instance—and Mister John's style can be overly elliptical, with one chapter about a favorite professor opening with the teacher lightly mocking the author’s hat. But overall, each brief essay provides an enjoyable window into John's experiences, and readers will finish this entry eager for more. As Mister John writes: "I purposely don't tell you what the big picture, the story of my life unexpected is… I want you to figure out how the pieces fit and what they mean, freeing you to find your answers."
Takeaway: Humorous essays exploring one man’s charming and unusual life.
Comparable Titles: Maeve Brennan’s The Long-Winded Lady, Jenny Allen’s Would Everybody Please Stop?.
Production grades
Cover: C
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A
After three decades as a medical missionary, however, he now sees that seeds he helped plant have born fruit, with the “physical and spiritual needs of the district” being met “through hundreds of churches” nurtured by those early efforts. Hudson now sees his younger self’s feelings of defeat as rooted in a misunderstanding of the mission: it’s through disciples and churches, he writes, that God changes the world. Hudson’s compact book, targeted at medical missionaries, offers compelling accounts from others who have dedicated themselves to cross-culture missions, moving anecdotes from his own experiences, and a host of deftly incorporated insights from Christian thinkers and writers.
Especially illuminating are Hudson’s explorations of the history of Christian health care and missions, dating back to Rome, and a careful delineation of how, in contemporary times, medical missions differ from healthcare missions. The cases he makes for why today’s healthcare ministries should collaborate with churches—and why “treating the whole person” body and soul is “designed to transform communities by God’s grace and for His glory”—will offer comfort and clarity to his audience.
Takeaway: A Christian doctor’s impassioned call for treating body and soul in missionary work.
Comparable Titles: Jason Baareman’s Rehab the World, Bruce Steffes’s Medical Missions: Get Ready, Get Set, Go!.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
“Somehow, this train wreck of a girl has blown past the perimeter and reached command and control. She has nailed him in the worst way. She has made him see something of himself in her” Day writes of Sofia’s unique talent to crawl under Jack’s skin and leave him feeling vulnerable. Though the premise of an unlikely duo coming together to bridge ideological gaps is not new, Day's execution feels fresh and relevant to current societal tensions, and he avoids easy resolutions, opting instead for a more realistic and nuanced exploration of how people can change when their worldviews are challenged.
Some readers may find the initial characterizations of Jack and Sofia stereotypical, but the narrative rewards patience, as the characters undergo a profound transformation while gaining depth and complexity. Readers will be captivated as Jack’s exterior softens and he begins to stand up for Sofia and her mother, just as much as they will be when Sofia’s interactions with Jack prompt her to reflect on her own life choices, including her excitable boyfriend, Memo—who loves bombs, overpromises, and drips emotions at every second—and her desire to return to El Salvador. The book concludes with a tender picture of reconciliation—and rebirth.
Takeaway: An unlikely friendship is the catalyst for personal transformation.
Comparable Titles: Jodi Picoult, Celeste Ng.
Production grades
Cover: B-
Design and typography: A
Illustrations: B
Editing: A-
Marketing copy: A-
What’s Good About Today? shares similarities with other stories of medical tragedies and traumatic loss, including touching journal entries from family and loved ones, accounts of searching for meaning (“I would often ask ‘Why? Why Christian?’”) and navigating complex medical systems, and touching examples of community support. Cochran and his collaborators, though, emphasize something surprising in this story of loss: what they gained from Christian’s compassion, generosity, and commitment to living life with a “different way of keeping time.”
Readers see what Cochran calls Christian’s challenge, to the rest of us, “to reconsider our relationship with time” and measure it "in the love we spread" in anecdotes and eulogies but also touching excerpts from Christian’s own writing, especially a powerful speech in which he calls the gulf between the “experimental and expensive” care available to him and what others receive around the world “a moral failing and, in a loose sense, a crime against humanity.” Page after page, Christian’s insight, ethics, and open-mindedness shine through, stir tears, and inspire.
Takeaway: Celebration of the life and spirit of a young man who showed how to live
Comparable Titles: Alexandra Fuller’s Fi, Catherine Mayer and Anne Meyer Bird’s Good Grief.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Film director Bluth, the filmmaker and animator responsible for classics like An American Tail and The Secret of Nimh, doesn’t disappoint in this children’s book debut. The story teems with colorful, bubbly characters who immediately plunge into readers’ hearts, center of which is Yuki, of course, but his underwater pals steal several scenes as well, particularly their open-mouthed despair when Yuki disappears at the hands of humans, a moment that Bluth crafts with stunning emotion: “‘Yuki!’ they whisper. ‘Yuki’, they shout, till their tiny crustaceous voices give out.” That’s just one of several evocative scenes, and young readers will be swept into this tale of friendship and family as they learn, alongside Yuki, that some choices come with devastating consequences—but, in the end, love truly saves the day.
Bluth’s bright, splashy illustrations are the crowning jewel, showcasing Yuki in the best—and worst—moments of his life, always with breathtaking emotion. Color schemes shift from playful to dismal as Yuki works through his forced captivity (and Hollywood takes a swipe at making him the most famous whale ever), but the story’s happy ending is an absolute wonder to behold, rich with the effervescent joy of reunited friends and family. Bluth credits Yuki’s child fans for his happily ever after in an empowering windup that will thrill young readers.
Takeaway: Young orca learns the value of friends and family in this stunning underwater tale.
Comparable Titles: Andrea Zuill’s Gustav Is Missing!, Dan Yaccarino’s Morris Mole.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Cree is a skilled storyteller, and readers will be spellbound as the tale races to sleuth the answers to this violent, devastating crime. Tantalizing clues and powerful courtroom scenes paint vivid details and foment assumptions, and backstory unveiled near the story’s end provides added depth, offering up Cree’s reasoning as to who the true killer was. The imaginative step-by-step recounting of the actual attacks is gruesome, but Cree painstakingly documents the murders with the help of multiple historical references, sparing no attention to the most minute particulars—including Lizzie’s alleged purchase of prussic acid (now known as cyanide) and the Borden household’s floorplans, reflecting on the role that such factors may have played in the crime. To avoid spoilers, Cree cautions readers not to read the historical afterward until finishing the story.
Cree transports readers beyond the central murders, masterfully exposing the cloud that Lizzie—and her fellow spinster sister Emma—experienced after the acquittal, noting the snubs and dark questions that chased Lizzie until the day she died. Even Lizzie’s name change, to Lizbeth Borden, failed to tamp down the rampant speculation, and Cree invites readers to speculate as well—at least until the tale’s final scene. True crime buffs will eagerly devour this impeccably delivered mystery.
Takeaway: Masterfully crafted tale of one of history’s greatest unsolved crimes.
Comparable Titles: Erika Mailman’s The Murderer’s Maid, Cara Robertson’s The Trial of Lizzie Borden.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
That’s not to suggest that Walk With Me emphasizes the darkest corners of Italian life. Giglio’s eyes are clear, but he’s often enchanted, finding beauty in umbrellas in rainy streets, in couples embracing and kissing, and in the rhythms and rituals of life offline, like a man reading the newspaper in the morning in an outdoor café or the several shots of adults gathered together outdoors, relishing each other’s company. Giglio’s captions tend to be playful, like many of his photos, but through them, with a minimum of fuss, he makes a case for the nourishing qualities of such connections.
Amid the courtyards, cathedrals, and hardworking pasta-makers, Giglio’s tour offers welcome surprises, captured on the fly but with striking, resonant compositions: a janitor, eyes glazed, sweeping a train station on a tractor-sized machine; a balloon peddler texting on his phone while his crop of unicorns and other inflated characters bob above. The preserved skeletons of ancient victims of Vesuvius offer a jolt among so many touching scenes of life, but the contrast proves illuminating: like Giglio’s other subjects, they were people, in their time, holding to each other.
Takeaway: Gorgeous tour of contemporary Italy, in photos emphasizing everyday splendor.
Comparable Titles: Harvey Stein’s Movimento, Agostino Priarolo’s People’s Republic of Venice!
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Chevallier delivers just the right amount of silly fun in this delightful story, and young readers will be enchanted by the animals’ antics. When Raccoon shows up and Andrea tries to teach him the bird-dog pose, he’s skeptical—"Bird-dog? There is no such animal” he says, vowing that Pilates is not for him. But Andrea sees his uncertainty as an opportunity and swiftly jumps in with a new move, encouraging Raccoon to just “sit and play with a balloon” after assuring him “it’s not Pilates.” That tactic pays off for Andrea with every animal that heads her way, all of whom are convinced Pilates is dreary and dull until Andrea shows them how to find joy in movements related to their everyday environment: Rabbit draws a carrot in the air with his toe, Hedgehog rolls into a ball, and Squirrel flaps his arms while counting acorns.
Stefana Argirova’s earthy, energetic illustrations capture Andrea and her cadre of friends in a variety of exercise positions—all Pilates moves cleverly disguised—that kids will love exploring with their adult readers. For added fun, Chevallier includes a list of Pilates poses, with step-by-step instructions and an entertaining animal illustrating each stance, at the end.
Takeaway: Darling introduction to Pilates moves for young readers.
Comparable Titles: Christopher Willard and Daniel Rechtschaffen’s Alphabreaths, Julia Zheng’s When Animals Exercise.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
While upbeat about what “people power” can accomplish, Kent-Hughes makes no equivocations: change is difficult, and his breakdown of current projections about the speed and impact of climate change proves suitably terrifying. But his theme throughout is “we can do this,” and he’s persuasive in his highly documented demonstrations of how outraged consumers can force companies to change their behavior. “Profit motive is countered by freedom of choice,” he notes, arguing for boycotts as the vehicles for change.
Emphasizing the urgency of creating community and spreading a positive vision, Kent-Hughes demonstrates how to set achievable objectives connected to larger climate goals (switch from a linear to a circular economy; “Halve per capita global food loss and food waste”) in key categories like food and transportation, all of which he lays out with clarity. His guidance for change-making is targeted to readers’ individual skills, interests, and availability, from “lifestyle changer”s to “online influencers” and “non-violent direct action.” Throughout the guide, different categories of action (influence, connect, communicate) are color coded for ease of use. Readers eager to feel that individual efforts contribute to a broader movement will find much that resonates..
Takeaway: Inspiration and action steps for individuals eager to push back against climate change.
Comparable Titles: Heidi A. Roop’s The Climate Action Handbook, Paul Hawken’s Regeneration.
Production grades
Cover: A
Design and typography: A-
Illustrations: A
Editing: A
Marketing copy: A
This thrilling tale, embedded in the rich legacy of thoroughbred racing and its surrounding ecosystem, delivers vivid descriptions of the sport and the betting that goes along with it—all capably drawn from Bahna’s two-decades-long experience in breeding and retiring racehorses. Characters are cinematic in their delivery, particularly Bahna’s gangster, Tony Kaufman, and his band of ne’er do wells—who luxuriate in Hennessy XO and Verdi’s Il Trovatore while commanding lackeys to follow orders… or else. Bahna skillfully manages a sense of perpetual immediacy, with danger lurking just around the corner, keeping readers on their toes with brutal fights, double-crossing, and high-octane chases.
Matt’s criminal past eventually returns with a vengeance, threatening not just him but Kristine as well, as the pair is forced to grasp at every straw in order to stay a step ahead of the dangers chasing them. But beyond the white-knuckle action, Bahna adds a humanistic perspective about the horses themselves, highlighting the exploitative practices and animal cruelty that can pursue the industry, all without sermonizing, instead transforming this story into an intense crime thriller that will resonate with those who favor chilling page-turners.
Takeaway: Chilling story of illegal horse race betting, with incredibly high stakes.
Comparable Titles: Dick Francis’s Dead Cert, Jason Beem’s Southbound.
Production grades
Cover: B+
Design and typography: A
Illustrations: NA
Editing: A-
Marketing copy: A-
The story starts with Sarah, but it quickly becomes apparent that Rachel is a prodigy, and Abrahmson often examines the unique cultural aspects of the women in Chelm through Rachel’s experiences. At seven, she teaches herself Hebrew, Yiddish, English, and German, all while gently caring for the ailing widow Oma Levitsky, whose magical chicken soup is said to cure all ills. Those snapshots give the story a folksy feel and a delicate humor that entertains, as when Oma’s soup cures a sick group in a nearby town, sparking a famine of sorts and forcing Chelm residents to eat endless cabbage, with predictably gassy results.
Abrahmson (The Village Feasts) maintains that playful touch throughout, painting characters who leap off the page. Chelm’s wise women are delightful and perceptive, their conversations a joy to read, whether they’re toiling over the latest relationship problems or debating whether girls in the village should be formally educated (“We women [are] able to cherish our subtle knowledge passed through words and whispers and gentle guidance” one woman observes). Abrahmson douses the story with welcome tension at times, and his sparkling prose and enviable world-building make this a beautiful testament to tradition and values.
Takeaway: Charming testament to Jewish traditions and the power of women.
Comparable Titles: Sydney Taylor’s All-of-a-Kind Family series, Rachel Kadish’s The Weight of Ink.
Production grades
Cover: A
Design and typography: A
Illustrations: NA
Editing: A
Marketing copy: A
Because Sylvia’s aunt doesn’t want her to attend, she decides she must go, and she enlists the help of self-proclaimed “evil fairy godmother” Pamela to get her there. But Pamela’s magic doesn’t always work quite right, so Sylvia ends up wearing a white tracksuit and driving a 1996 “Merkury Sable” to the party. Her unusual attire attracts the attention of the prince, who ends up being just as sarcastic as Sylvia. When Sylvia abruptly flees the party before her car and clothes transform to a bike and potato sack at midnight, Quinn stops at nothing to find her. She even gets her happy ending —though likely not the one readers will expect.
Admittedly, Sylvia is not the most admirable character—she is rude and selfish, and she doesn’t have any qualms about lying or stealing to get what she wants. However, her behavior is clearly a reflection of her inner world—she has, after all, been abandoned by her parents, and she struggles to make friends because of harmful rumors surrounding her family. This offers kids a compelling example of empathy for others and a reminder that, in the real world as well as Fairytale Land, things are frequently more complicated than they appear.
Takeaway: Rollicking take on the Cinderella story, with a young girl learning to appreciate what she has.
Comparable Titles: James Riley’s Half Upon a Time; Liz Braswell’s Twisted Tales series.
Production grades
Cover: A
Design and typography: A
Illustrations: A-
Editing: A-
Marketing copy: A-
As all that suggests, this is heady, ambitious material, and Samo writes with urgency, humanity, and a deep belief in “universal light” and the power of the Wisdoms. The Wisdoms include Linguistic Clarity, which refers to “achieving a state of ‘clear and unobstructed’ in the abilities of listening, speaking, and writing” and Medical Insight, which entails understanding of medical conditions “even surpassing the standards of professional medical practitioners.” (Samo argues that the high percentage of medical students needing eyeglasses points to a need to study this wisdom.)
Crucially, study of the final Wisdom—Inner Enlightenment—as well as teaching of the “ten good deeds” helps prevent the abuse of the others for “evil” purposes. Samo proves persuasive when encouraging an integrated approach between contemporary science and technology and ancient teaching, but claims of a “correlation between the general mindstate of humanity and climate conditions,” as exemplified by an explosion of kindness after the 1906 San Francisco earthquake, are unpersuasive, and Samo’s argument that an educational system should produce a “multitude of [Elon] Musks” will prove contentious.
Takeaway: Impassioned call for an education overhaul emphasizing ancient wisdom and virtues.
Comparable Titles: VY. Nithiyanandam’s Buddhist System of Education, Sean Steel’s The Pursuit of Wisdom and Happiness in Education.
Production grades
Cover: B+
Design and typography: B
Illustrations: N/A
Editing: C
Marketing copy: B-