Moore's coming-of-age dystopian tale (after Ballad of the Dead) has many intriguing ideas at its core, and Oliver's found family is incredibly charming, each playing their own part as they forage, hide, and, above all, value the land that supports them. Their motto—“we need everyone to take care of themselves”—plays out in the background as Oliver learns to work within their team while coming to grips with the pseudo-reality he’s been living back home. Moore’s depiction of the cave-cities Autumn and her family navigate—with their own printing press, markets, and self-sufficient processes—is brilliantly lifelike, a stark contrast to Oliver’s world, where the only available news is propaganda and fear keeps everyone locked inside their houses.

The story’s action ratchets up when the government Autumn and co. have been avoiding for years comes knocking, prompting Moore’s not-so-subtle message on the dangers of bureaucratic oversight. As Oliver’s resurfacing memories torment him with worries about his true nature—and Autumn’s history emerges bit by bit—the two are thrust into a heady battle of survival, where reality is uncertain and “everyone deserves a chance to put their old life behind them and start again.”

Takeaway: Intense dystopian tale pitting teens against an intrusive, near-future government.

Comparable Titles: London Shah’s The Light at the Bottom of the World, Michael Grant’s Gone.

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