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recounting of the actual attacks is gruesome, but Cree painstakingly documents the murders with the help of multiple historical references, sparing no attention to the most minute particulars—including Lizzie’s alleged purchase of prussic acid (now known as cyanide) and the Borden household’s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-
Mostly told from Eddie’s heated perspective, this sprawling thriller captures the mind, mouth, and world of an aggrieved cop who gets that the IA officer assigned to him blames “systemic racism and toxic masculinity for breeding scumbags like me.” When a second priest goes missing, and a flinty federal agent starts poking around with next-level brusqueness, Rodriguez will find his assumptions about everything challenged, especially once he learns that Centenos and the NYPD may be trying to hush something up. One surprise, expressed in a sharp narrative voice that playfully tweaks pulp-fiction masculinity: that the FBI’s Special Agent Murray has “the kind of body a navy-blue pantsuit couldn’t ruin.”
That line’s clipped power and comic edge exemplify the authors’ prose, which pulses memorably as Vigilante Priest digs into a tricky investigation that will wreak havoc within the department and on Eddie’s own life—the suspense comes from the lengths the powerful will go to shut Eddie down. Despite brisk, striking sentences, the plotting tends toward the baggy, the novel taking its time with an investigation where readers are ahead of the cops. Often, though, the authors use the extra length well, delving into character—like Eddie’s family—and even welcome comedy. The scene where Agent Murray catches Eddie daydreaming about Chris Pine playing him in a movie is irresistible.
Takeaway: Epic procedural of a Bronx cop, missing priests, and organized vengeance.
Comparable Titles: Alex Kava’s A Necessary Evil, Jeff Spence’s The Priest Hunter.
Production grades
Cover: A-
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: B+
Naively, Naomi seeks out this role out of what she describes as a desire to “be embraced in a Harmonious Society and warm bosom" to “help co-create what’s to come,” and to “create a positive outlook.” In idea-dense chapters that will thrill readers fascinated by the ethics of mass-media and journalism, Emmett charts Naomi’s youth, including her fractious marriage with a man who decamps for medical school in Beijing, and then her language training, her augmentations, and her early successes as an RJ, where she turns every problem her double-sized brain faces into a “a 22-sided origami resembling a crayfish.”
A plot eventually kicks in, involving a coverup, a Human Recycling program, orders to engineer the downfall of an “algorithmic imposter,” and a surprise from Naomi’s past. All of this is gratifyingly twisty, with conflicts extrapolated from our present with rare conceptual rigor, but the richness of imagination and moral inquiry take priority over narrative momentum. Still, readers of thoughtful SF will find revelations on every page. Emmett is a talent to watch.
Takeaway: Smart, startling SF debut exploring next century’s media and disinformation.
Comparable Titles: Malka Older; Seth Dickinson’s Exordia.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
As Paul learns more and more about his apartment and its complex neighbors, he finds himself in a classic whodunnit. Harper’s writing is crisp, witty, and conversational, maintaining a brisk pace even as Paul can’t stop himself from musing about bagels or asking a detective for career advice. Amid the sharp dialogue and vivid descriptions, Paul often addresses readers directly—“Even if my grief was selfish, unfair, unearned, it didn’t matter”—in inner monologues and arguments that are a continual highlight. Despite his flaws, he proves easy to root for, as he pursues the case through lively twists and emotional gut-punches.
The crime is layered and engaging, but not overly complex, and despite the wit the suspense is consistent as Harper deftly blends mystery, satire, and Brooklyn character study, all with impeccable scenecraft. Harper stages surprises, revelations, gags, and bursts of self-discovery with equal aplomb. Even readers steeped in the genre will find the ending a dazzling surprise with real emotional resonance—and they’ll be heartened by the promise of a sequel.
Takeaway: Witty mystery expertly balancing suspense, emotion, and a Brooklyn murder.
Comparable Titles: Anthony Horowitz, Richard Osman
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Miezejeski’s world is as factual as it is creative, as he draws parallels between Cronin’s search for intelligent life and Earth’s same quest, albeit with differing results. “It's highly unlikely that any two intelligent life forms have or will make contact with each other during their limited lifespan in terms of the age of the universe,” Neil, a scientist on Earth, declares to an audience of museum donors, during the span of time it takes Cronin commander Gus to contact him through email, offering his planet’s knowledge base to an Earth struggling with conflict, disease, and global warming.
Though he draws from real life initiatives and scientific programs, Miezejeski’s narrative gets bogged down at times with minor grammar errors and the somewhat flat interactions between the Cronin civilization and Earthlings. The bulk of the story revolves around how Cronin contacts Earth, and the concerns that arise on Earth in response, but Miezejeski’s truly alien extraterrestrial world—with days that are 33 hours long, limited seasonal weather variation, and an absence of social exploitation—is immersive. Miezejeski closes with a curveball ending that will delight sci-fi fans.
Takeaway: Thought-provoking story of extraterrestrial life’s first contact with Earth.
Comparable Titles: Arthur C. Clarke, Liu Cixin.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: B
The flaming center here is Mengay's blazing style, a stream-of-consciousness gush studded with killer details—“the two of us press flesh to flesh, causing me to frot the horn in rhythmic beats, the sound intensifying on this barren spit below I-70”—wells of deep feeling, and reams of sharp-elbowed, unpunctuated dialogue that, in the briskest passages, offers a reprieve from the prevailing density. Mengay (author of The Lede to our Undoing) demonstrates a mastery of rowdy voices, in chatter and letters, sometimes offering scenes in script form.
But Ojo’s power comes from Mengay’s attention to the senses in scenes of home building, road tripping, boisterous get-togethers, earthy trysts (“Lips and beard abrade my skin, peel me like a tangerine”), and taking the dancefloor at a gay bar that’s like a “studded–and-buckled Araby of the west.” Especially moving is Mengay’s stripping away at the cast’s protective layers, revealing men who are wild and carefree with the narrator yet not free to be so in their everyday lives. Readers who relish uncompromising fiction of substance and ambition will find this wild, wise, and nourishing.
Takeaway: Incandescently written novel of growing up queer in 1980s Colorado.
Comparable Titles: Ali Smith, Alan Hollinghurst.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
Bolger's prose is frank and evocative, pulling readers into Doonan's world with detail and dialogue that pulse with authenticity and richly drawn characters steeped in their place and era. Through Doonan's eyes, we witness his personal growth and the harsh realities that shape his worldview, in a world punctuated by brutal fights, drug running, and tender dreams amidst harrowing cruelty. Doonan, vigorously opposed to joining the gangs that run the streets of Hell’s Kitchen during his adolescence, turns down their offers while surrendering to his inner rage, reflecting during a drug-fueled bender, “Howie and I were sitting together in a far-off land where we could be or do anything we wanted. but were our pain and rage too much to allow us?”
More than anything, this is a compelling exploration of youth, resilience, and the pursuit of identity. Bolger's ability to blend poignant moments with gritty realism ensures the book’s emotional impact, and Doonan’s journey from flashbacks to freedom will hook readers from the onset—and leave them contemplative as he muses that learning to live again is “just another stoop to conquer.”
Takeaway: Unflinchingly honest portrayal of adolescence in urban America.
Comparable Titles: Betty Smith’s A Tree Grows in Brooklyn, Sandra Cisneros’s The House on Mango Street.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: B
Friday introduces readers to a fun, intelligent middle grade adventure with a satisfyingly diverse team of kids, all of whom are well-versed in coding, drone technology, and scientific research. Despite the story’s setup, the characters acknowledge their situation is unusual, making them a very down-to-earth group stuck with an out-of-this-world problem. Mattie emerges as a leader of sorts, but each member of the foursome contributes in their own right, whether it’s Nova’s robotics expertise, Rora’s social media know-how, or Parker’s drone skills. Adult readers will relish Friday’s emphasis on ingenuity and teamwork, as the group must collaborate with the government—while deciphering who they can actually trust—in order to save thousands of lives.
Most encouraging here is the variety of interests this diverse group holds, all largely centered on the field of science. The kids are bright, capable of such ingenuity as building robotic arms and devising a communication code to throw off the officials tracking their every move, and their resourcefulness secures them several big wins along the way. Middle grade readers will appreciate the thrills, too, as Friday delivers an exciting medley of daunting weapons, military drones, and death-defying chases, culminating in an ending that will appeal to sci-fi fans of all ages.
Takeaway: Ingenious group of middle schoolers face down an intergalactic threat.
Comparable Titles: B. Random’s Alienship, Matt Guzman’s Rieden Reece and the Broken Moon.
Production grades
Cover: C
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Morgan delves into significant moments of the late 20th and early 21st centuries, examining how these events have influenced societal and individual psychology. His narrative is rich with striking personal anecdotes and professional observations: relish his encounter with a wag in the early 1960s who claims not to “see race,” or his dinner-party-ready tale of teaching the concept of identification reciprocity only to be interrupted by a student who inadvertently proves it. This keeps the historical sections informative and engaging—Morgan has no time for received wisdom or familiar pieties, though as he charts his nation’s tilt toward conservatism in the 2010s he does indulge in a page-length chicken-egg joke and some prankish play with ChatGPT.
That insistence on fresh thinking also shines in the speculative portion of the book. He envisions future scenarios with a psychologist's eye for behavior and detail, exploring how emerging technologies, environmental changes, and evolving social norms might impact human society. These predictions are grounded in current trends and scientific advancements, lending a sense of plausibility to his visions of the future. While Morgan's transitions between past and future can sometimes feel abrupt, and the book’s design and many illustrations tend toward the haphazard, he weaves eras and ideas into a thought-provoking narrative whole that challenges readers to consider the long-term impacts of present-day actions.
Takeaway: A psychologist’s insightful, surprising historical insights and future speculations.
Comparable Titles: Yuval Noah Harari, Ray Kurzweil
Production grades
Cover: C-
Design and typography: C-
Illustrations: C-
Editing: B
Marketing copy: C