1876Journalist and historian Wiegand grew up in the 1950s watching Westerns on TV and in the movies, enraptured by cowboys. Not surprisingly, he wanted to be one. That youthful enthusiasm infuses his project of separating fact from the rousing fictions that have been perpetrated about the West and about men such as dapper outlaw Bat Masterson; unlikely law enforcement agent Wyatt Earp; horse thief and actor–turned–Army scout Bill Cody; James Butler “Wild Bill” Hickok; Army Col. George Armstrong Custer, brutally massacred; and bank and stagecoach robbers Frank and Jesse James. Focusing on events that occurred in 1876, America’s centennial, Wiegand draws on contemporary newspapers and magazines to create a sense of immediacy and color for his portrayals of the ramshackle towns—Sweetwater, Texas; Dodge City, Kansas; Deadwood, South Dakota—where these men gambled and drank and where their conflicts sometimes erupted into infamous gunfights. But the Wild West, though contributing mightily to America’s hunger for its own mythology, did not define the nation. Wiegand sets his protagonists’ lives in the context of a country peopled by inventors, industrialists, writers, politicians, and entertainers, including Alexander Graham Bell, recent inventor of the telephone; pharmaceutical entrepreneur Eli Lilly; Henry Heinz, promoter of his new product, “catsup”; shameless showman P.T. Barnum; poet Walt Whitman, who eulogized Custer; and Mark Twain, whose Adventures of Tom Sawyer was published at the end of the year. A centennial exhibition in Philadelphia highlighted achievements of the striving nation, but the extravaganza could not hide festering problems, including a protracted economic recession, labor unrest, political corruption, violence against Blacks, and an increasingly strident women’s suffrage movement. Besides offering a historical overview, Wiegand examines the books, movies, and TV shows that turned cowboys and outlaws into legends and the Wild West into “a ‘reality’ that persists, no matter how far removed it is from the facts.”
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EDUCATOR AND ACTIVISTBorn in 1935 during the Great Depression, Bryant spent his early youth in Little Rock, Arkansas, largely cloistered from the reality of racism in a “small, close knit world.” In fact, the “system of racial apartheid that governed our lives” only came to his full awareness gradually—until it was brought home forcefully by a tragedy he experienced while in the second grade. Fellow classmate Lee Andrew Peters died while trying to make his way home during a storm, a death that might have been avoided if the Black neighborhood he lived in was constructed as well as the White neighborhoods. This disaster effectively shattered the author’s “sheltered existence” and brought to his attention an issue that would form the fulcrum of his work as an activist: the ways racial discrimination causes environmental injustice. Bryant would go on to have an impressive career both as an academic and as a social justice advocate. During the tumultuous ’60s and ’70s, he opposed war and was immersed in the civil rights movement as a member of the Congress of Racial Equity. He was also a founding member of the Environmental Advocacy Program at the University of Michigan—a groundbreaking organization. The author was eventually appointed to the National Environmental Justice Advisory Council under President Bill Clinton. Bryant came to adopt and evangelize nonviolent protest, a philosophy he presents with great clarity as well as candor: “I was well aware that I’m no moral superstar. I’m just an average person. At times I felt brave, at other times I felt fearful. Sometimes, in the face of violent and racist language spewed at me, I had to void myself of feelings of both love and hate in order to survive emotionally and control my violent instincts.”
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SILENT INVASIONBirx, who regularly appeared before the microphones with Anthony Fauci before being sidelined, was brought into the battle against Covid-19 as a result of her successful, ongoing work battling AIDS in Africa. Interviewed for the new job, she found herself having to explain to a resistant Trump that the virus was not just a bad flu. “He holds up his hand,” she writes. “He smiles that glib grimace of a smile. I stop speaking.” The interview was symptomatic of her treatment thereafter, her messaging often at odds with Trump’s, Mark Meadows’, and other White House figures’. She found a sympathetic, behind-the-curtain ally in Jared Kushner as well as unnamed members of the presidential communications staff, who found ways for her to get the word out. Yet her foes in the administration—particularly right-wing doctor Scott Atlas, “the worst purveyor of misinformation”—contradicted or stifled her warnings that masks, isolation, and mass vaccinations were needed, and she blames many of the hundreds of thousands of subsequent deaths on those insiders. Much of the narrative offers lessons for fighting the next pandemic, and there her writing can be—well, clinical. Still, her arguments are sound: Health agencies must be better coordinated, the CDC should be decentralized and its workers placed in underserved regions, and a single strong message about the risks and dangers of any given illness needs to be sent out. Readers will come to her book, though, not for her epidemiological prescriptions but instead for her anecdotes of battles against recalcitrant political appointees and assorted yes men as epitomized by Meadows, the object of an uncharacteristically sharp outburst from Birx: “This is the kind of unbelievable level of fuck-up that ends up killing people. We can’t keep doing this!” Yet keep doing it they did, and the death toll mounted.
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ARMADILLO ANTICSThis ode to an odd yet appealing animal opens with an introduction to its nighttime world: “Now the day has ended… / Shadows of the evening / dance across the sky.” Then, in couplets, the authors address the armadillo directly, suggesting actions: run, leap, dig, eat, and retreat into its burrow before sunrise. The beats don’t always line up in the second lines of the couplets; those reading the book aloud for an audience should practice. In a nod to previous illustrators of Martin's many popular titles, Beauvois uses a combination of collage on painted paper and digital collage. One page is entirely brushwork (with adjustments made in Photoshop), mostly blues, with a few fish: “look, / or you may fall into the brook.” The next is a close-up of the armadillo “dressed in armor like a knight.” The figures are large and colorful. In spite of the animal's nocturnal habits, the backgrounds are often white, the better for showing to a group. Some armadillo facts are summarized on a final page, with illustrations in an entirely different style. Those who read to preschoolers will welcome the appearance of this new work by these frequent collaborators, the first of several to be published in the coming years. (This book was reviewed digitally.)
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THE RUNAWAY'S DIARYFifteen-year-old Eleanor idolizes her older sister, Sam, despite their being complete opposites: Sam is outgoing and wild, while socially awkward Eleanor is known as Little Miss Perfect, always doing the right and safe thing. After Sam runs away from home, the only communication she has with Eleanor are three postcards sent from Seattle. Eleanor decides to trace her 18-year-old sister’s footsteps, leaving her messages and hopping on a bus to find her. But when Sam doesn’t meet her at the bus depot, Eleanor, who has no real plan, has to learn how to survive on her own while searching the city for her sister. While the close bond between the girls is well depicted through flashbacks, the reveal of an important secret ultimately feels anticlimactic. A major plot point relies too heavily on chance and coincidence to be fully believable. While the color scheme, cityscapes, and background illustrations are atmospheric, the manga-inspired drawing style comes across as dated and flat. The depiction of the fabricated stories Eleanor tells is intriguing, as are the themes of friendship, living in the moment, and maintaining hope; unfortunately, none are thematically strong enough to resonate. The emotional impact of Eleanor’s experiences is diluted by her at times humorous narration. Eleanor and the main cast read as White.
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DARK OBSESSIONSDetective Barnes is up from San Francisco in Washington State trying to get over two traumas: her grisly victory over the Tower Torturer, described in Sutro’s previous book, Dark Associations(2017), and her lifelong hatred of her mother. But when the body of a horribly tortured Malaysian girl is found, Kate, along with Sheriff Tony Luchasetti, is irrevocably drawn in. Soon the local coroner and the FBI are also involved, and it’s clear that this sex trafficking outfit has sordid tentacles all over the place, including in the top echelons of corporate power. The obvious perp is killed but inadvertently leaves a video clue and a mysterious bracelet. While trying to solve a tough, twisty case, Kate is almost killed working undercover and forced off the road into a lake. She also suffers indignities while taking tentative steps to reconcile with her mother and falls half in love with Sheriff Tony. The case climaxes in an underground lair and Kate’s fighting for her life after being hunted through the forest for sport. Sutro is an accomplished, talented writer; here’s her rendering of one baddie in a snit: “His shoulders rose and fell with the hallmark insouciance of a teenager.” She is very good at creating hateable villains, and when they wind up dead, the reader has permission to cheer. The demise of one particular criminal is a surprise and, perhaps, a stretch, but by then, we are totally keyed up and ready to revel in anything. There is also a wealth of police procedure detail and medical detail from the coroner, all of which really puts the reader in the scene. We truly live this adventure along with the redoubtable (and indestructible) Kate Barnes, who will surely be back.
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FROM THE HOOD TO THE HOLLERBooker was “the youngest Black state legislator in Kentucky in over eighty years,” and he is currently preparing to challenge Sen. Rand Paul. As one of six Black legislators, Booker’s experiences reflected expectations about racial divides yet also transcended them. “I come from the West End of Louisville,” writes the author, “a place so isolated that in many ways it has more in common with the hollers up in coal country than it has with the rest of the ‘big city.’ That often-ignored reality gave me a unique responsibility: to shine a light on our common struggle and bridge the divide between the urban and rural communities, to tell the stories that too often don’t get told inside rooms like the Kentucky State Capitol.” The author begins with a poignant portrait of a hardscrabble childhood, where his mother skipped meals in order to feed her children. Booker benefited from fitful school integration, aware of the limitations most young Blacks faced. While in law school, he forged connections within the small community of Black state politicians, initially as a legislative aide: “Once I understood how the office helped people in the community, I was all about it.” Later, he surprised his political mentors with his own successful statehouse run. “The message I brought with me from the hood was resonating with people all over Kentucky,” he writes, a message that he demonstrates in a moving passage about standing with protesting coal miners. He contrasts his ambitions with the corrosive effects of Mitch McConnell and his shadowy role at the center of Kentucky political power. McConnell, he writes, is “the single greatest obstacle to anything that would help Kentuckians live a better life.” Booker’s prose is detailed and energetic, if occasionally repetitive. He ably captures his rise in politics and sharply assesses the mechanisms of power, particularly regarding segregation and the urban-rural divide.
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THE PUZZLERIn his latest foray into lighthearted, experiential journalism, Jacobs opens with the thrilling discovery that he’d been used as a clue in a New York Times crossword puzzle—a thrill lessened somewhat by appearing in the hard-to-solve Saturday edition, “proof that I’m totally obscure, the very embodiment of irrelevance.” Undeterred, the author, a puzzle addict whose interests embrace not just crosswords, but also “mazes, secret codes, riddles, logic puzzles,” and other nerdy pursuits, embarked on a quest to find puzzle makers and solvers in dusty warrens, convention centers, and other venues. TheTimes, he discovered, was late in the game when it came to crosswords, having sniffed that they were “too lowbrow, too frivolous.” Under the guidance of the learned but democratically minded Will Shortz, the paper has become the gold standard of crosswords. Throughout, Jacobs ventures theories on how the puzzles sharpen the brain, help us solve real-world problems, and “are an existential grasp at certainty and closure in an uncertain world.” Sometimes they induce despair, as the author’s early encounters with the Rubik’s Cube reveal. He was hardly more cheered after an international jigsaw-puzzle competition in which he was bested by a “man from Uganda who later told me he is color-blind.” Corn mazes, secret codes, chess gambits, the river-crossing problem, and the Tower of Hanoi: Jacobs is refreshingly captivated by every kind of mental challenge, it seems, and his enthusiasm serves this lively—and puzzle-stuffed—book well. The author even proves to be his own riddler, promising that there is a secret puzzle hidden in the book, the first solver of which will receive $10,000: “I figured I couldn’t write a book on puzzles that didn’t contain a secret one itself.”
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RULES FOR ENGAGING THE EARLTempted by the war secretary’s office, Jonathan Eaton, the Earl of Sykeston, cast aside the promise of Constance Lysander’s youthful love in favor of service to the Crown. Years later, he is being blackmailed with the possibility of a court-martial for his honorable decision to let an unarmed enemy solider go free. After the death of her parents, Constance has successfully run Lysander & Sons Refitting Company. Her first husband bolted in the middle of the night with her dowry, leaving her pregnant, and died not long after. Widowed and with a newborn daughter, she proposes marriage to Jonathan, believing in his integrity and honor. He acquiesces but, after providing for her material comforts, leaves her behind in London right after the marriage ceremony. The fear of court-martial hangs like the Sword of Damocles over his head. He believes he will rain society’s disapprobation down on anyone with whom he associates. The reality of Jonathan’s war injury, with its physical agony and mental pain, is sensitively portrayed. He's convinced he will never be good enough as a husband, father, or friend, so he isolates himself on his estate, Sykeston Gardens. A year later, battling her fear of abandonment, Constance goes to stay with him. Jonathan’s behavior toward her oscillates between tender and kind in one moment, cold and standoffish the next. He can’t bear to have her with him, and he can’t bear not to. But she’s determined to help him recover and make her second marriage a success. Constance is shown to be a courageous, independent woman who isn’t afraid to display her strong personality. This second book of The Widow Rules series is set in Portsmouth, a welcome departure from the ballrooms of London.
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LITTLE SOULSDallas’ first-person narrator is 24-year-old Lutie, short for Lucretia, a fashion illustrator for a downtown department store that caters to Denver’s upper class. Lutie lives with her older sister, Helen, who, as a nurse, is dealing firsthand with the misery attending the epidemic. As the novel begins, Lutie, among a small, fearful throng, witnesses the death throes of a soldier on a public street. This is only one instance of Dallas’ graphic depictions of the course of the influenza pandemic in one city, many of which resonate today—although not necessarily the “death wagons” patrolling the streets or the widespread acceptance of public health measures. Lutie arrives home to find Ronald Streeter, the sisters’ downstairs tenant, stabbed to death in the kitchen, Helen standing over him with an ice pick in hand as his 10-year-old daughter, Dorothy, cowers nearby. We soon learn that drunken, depraved Streeter abused his wife, Maud, and had raped Dorothy, also offering her to his crony, Maud’s equally depraved brother. Helen’s fiance, Gil, a medical student also overworked during the pestilence, helps remove the body to a vacant lot, hoping one of the “wagons” will dispose of it along with the anonymous remains of flu victims. As the sisters make a home for the traumatized Dorothy after Maud dies of flu, complications pile up. Long-suppressed secrets emerge as the uncle tries to interfere with the sisters’ adoption case. The parents of Peter, Lutie’s fiance, who is killed in the war, offer staunch help. Dallas makes a worthy effort to use the parlance of the day, erring on the side of formal, somewhat stilted speech on the parts of all but the guttersnipe characters. Aside from these obvious villains, the characters are well intentioned and unfailingly kind, including two hard-boiled detectives. The novel is seeded throughout with tragedy, but the overriding message is hope, and the overarching adversary is not human but a virus.
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HIGHLAND JUSTICEThe third book in McCollum’s Sons of Sinclairseries stars a chieftain under Scotland’s King James. Both brawny and brainy, Gideon Sinclair is one of four “Horsemen of the Apocalypse”; i.e., Gideon and his brothers were taught by their father to raise hell against enemies of the throne. Gideon, “Horseman of Justice,” must impose law and order. On one of his patrols, Gideon spies Cait MacKay dancing alone in the snowy woods, and he is instantly entranced. Gideon saves Cait’s sister, Willa, when she falls into an icy river, but Cait, a widow, resorts to stealing from him to keep her children fed. She learns he is one of the formidable Horsemen of the Apocalypse and goes on a risky adventure to return what she stole. As Gideon grows increasingly passionate about Cait and becomes familiar with everyday people, he also learns to distinguish between judgment and justice. And as Cait begins to fall for Gideon, she heals from her previous abusive marriage. Cait and Gideon work together to organize the Christmas Hogmanay fest and deal with their past traumas, and all seems well, but sinister forces are plotting a dangerous political takeover. McCollum’s romance ably balances a suspenseful game of political chicken, the possibility of civil war, and skyrocketing sexual tension between Gideon and Cait. Along with their crackling chemistry, the couple build a deep respect for each other that involves the shedding of emotional and social barriers; Gideon says to Cait: “We convince ourselves that we’re something we’re not. We bend our world around that impersonation to protect ourselves from an ugly world that requires us to be something else.” Though filled with the genre’s common tropes, the novel also considers identity, gender equality, and the nature of justice. And we see some comic relief in the form of fraternal hijinks among the Sinclair brothers.
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THE COWBOY SAYS YESHadley Wayne has deep roots in the small Montana town of Rustlers Creek: It’s where she grew up, it’s where she met and married her husband, Zack, and now it’s where she hosts her popular Cooking Network show, The Cowgirl Gourmet. The show is successful beyond her wildest dreams, turning her into a household name and catapulting her and her husband and their ranch into the spotlight. It’s not that Zack resents Hadley’s success, but he feels a deepening chasm growing between them every day. They're both afraid their marriage is unraveling, but the lines of communication are completely down, and they're unable to fix what is wrong. When a business trip sends them to California, Hadley and Zack both hope that time away from the ranch will help them reconnect. Fox’s novel is full of angst and melodrama, with two other secondary romance plots: Zack’s parents experience marital difficulties, and Hadley’s producer falls in love with one of the cowboys on the ranch. Unfortunately, these subplots just serve to highlight the lack of progress between Hadley and Zack. Their emotional reactions, especially at the beginning, feel manufactured to create melodrama. The plot meanders for most of the book before scrambling to an unsatisfying and rushed conclusion.
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A SCOT IS NOT ENOUGHCharismatic and worldly-wise, Cecelia MacDonald is the leader of a league of Scotswomen. Formed a few years after the Scottish uprising of 1745, the main mission of the league is to reacquire the treasures that have been wrested from their clan. Cecelia’s primary goal is clear: She is to retrieve the sgian-dubh, a symbolically significant ceremonial dagger that once belonged to the chief of her clan. However, her path is littered with dangerous obstacles, including the steadfastly law-abiding barrister Alexander Sloane, who works for the Duke of Newcastle. Alexander is tasked with following Cecelia, who, in the eyes of the magistrate, is a suspected Jacobite sympathizer. If he does the job well, he could achieve his long-cherished dream of becoming Baron of the Exchequer. Alexander and Cecelia find themselves attracted to each other, engaging in a cat-and-mouse game with each seeking the upper hand. But when Cecelia and her league catch the attention of several dangerous adversaries, the steady barrister is forced by the defiant “demirep” to reevaluate his ideas of loyalty, truthfulness, and love. The second installment in Conkle’s Scottish Treasures series doles out angst and wit in equal measure. The characters are instantly likable, and it's easy to sympathize with their internal struggles. Cecelia’s relationships with other women, enlivened simultaneously by a smidge of uneasiness and dollops of steady solidarity, are especially well etched. Her pursuit of the dagger is replete with suspense, and Alexander’s official pursuit of Cecelia is intriguing, but the thrill flags when their goals shift and each becomes more interested in the other than in their long-held aims.
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CLOUD TOWNNewly uprooted to a nearby wealthy school, Pen and Olive rely on each other to survive. Anxious, academic Olive keeps Pen’s schoolwork on the straight and narrow. In return, hard-edged skater Pen protects Olive from the bullies who torment her. Troubles in their own lives, however, seem primed to push the girls apart. The rift between them only widens when an unexpected encounter with an escaped Hurricane under surveillance by the Care Corp reveals that Olive piloted the Storm Catcher that felled the creature. Not strong, capable Pen, but Olive, who’s afraid of everything. McCloskey’s debut graphic novel is a story of compatibility and divergence as two friends explore and adapt beyond the confines of their relationship and their own self-imposed limitations. Pen, with her troubled home life, is given the more developed backstory of the two whereas Olive has more character growth, gradually overcoming her insecurities and gaining both confidence and independence. Spending as much of the story at odds as they do, it is difficult to believe that the girls, whose personalities are not particularly complementary, were ever truly close; however, that does not detract from readers’ investment in their physical and emotional journeys. A limited color palette and viscerally detailed, dynamic art style vividly illustrate the rich quasi-dystopian world. Pen has Afro-textured hair, while Olive reads as White.
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FIGHT LIKE HELL“As I write this,” writes journalist and labor activist Kelly, “eleven hundred coal miners in rural Alabama are still out on a strike that began on April 1, 2021.” Even as knowledge workers flee corporate life, spurred by the pandemic revelation that they can work anywhere, these coal miners are bound to geography and largely overlooked because coal is unpopular in a time of climate change. So it is with the larger history of labor unionism, Kelly suggests, at least in part because so many women and minority members were instrumental in it but are often written out of history. By way of one example, the author considers the case of a woman named Lucy Parsons, who grew up enslaved in the South and, with a husband who had fought for the Confederacy but later converted to anarchism, helped organize workers around the Haymarket riots of 1886. Sadly, Parsons refused to acknowledge her ethnicity and “focused her energies solely on behalf of white factory workers.” Nonetheless, Black activists were essential to working people’s efforts to secure better conditions, as Parsons was to gaining the eight-hour workday. Here Kelly examines the militancy of Mohawk ironworkers who helped build the skyscrapers of 1920s New York, “walking across two-inch-thick beams hundreds of feet in the air without so much as a tremble,” and of the multiethnic Coalition for Immokalee Workers, which exposed what amounted to slave labor on Southern farms in our own time. Injustices continue, from coal miners to immigrant workers bound to company stores and housing in Midwestern meatpacking plants. “Collective working class power was behind every stride forward this country has made,” Kelly writes in an urgent closing section, “grudgingly or otherwise, and will continue to be the animating force behind any true progress.”
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YOUR NOSTALGIA IS KILLING METhe first of the book's three parts, harrowing and sometimes bitingly funny, centers on a narrator who's the caretaker, nursemaid, and faithful sidekick to a friend—not a lover, but a beloved—who's dying. Watching that friend waste away, enduring his hostile outbursts and caustic jokes, indulging his whims: Weir writes powerfully and with nuance about what it's like to grieve someone into the grave and beyond and what it's like to have that grief haunted and needled at and undermined, in a way, by how unpleasant and hateful the beloved became as his health deteriorated. The second section, "Long-Term Survivors," follows this same narrator—his name is John Weir, a stratagem that sometimes seems clever but that can also feel coy—through the next 30 years. Two stories in this section feature his mother. A standout is "Humoresque," in which the narrator, now in his 50s, has come down to Pennsylvania to check on his octogenarian mom, just out of the hospital after a brain bleed she wasn't expected to recover from. She's the kind of person often called indomitable, which (accurately) makes her seem formidable in the way of a battleship or a frosty screen idol; the narrator describes her as "a movie star without a movie to star in." Their impatient, affectionate banter—she's another big personality to be helpmeet to, co-star with, the narrator's preferred (if also resented) role—is lovely and persuasive, and Weir uses it to illuminate what's going on in the narrator's love life; he's here in part, as his perceptive mother intuits, to claim her car so he can drive north to pursue another of his doomed, barely or nonphysical love affairs with another inaccessible man.
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THE ODYSSEY“What you need to understand is that everything is coming out of and going into nothingness. That is the principle of wabi sabi,” Ingrid, the protagonist of Williams’ peculiar novel, is told by Keith, her boss aboard the vast luxury cruise liner on which she has lived and worked for the past five years, in the book’s opening passage. Williams has predicated the book’s plot on this idea of inevitable decay and deterioration, the acceptance (even the acceleration) of imperfection—yet elements of the story, like the concept behind it, can be challenging to embrace. For somewhat perplexing reasons, Ingrid has left her cozy bourgeois life with a loyal, loving husband, as well her well-appointed home and all her clothes and belongings, to move, with only the most minimal possessions, into a tiny room on a cruise ship and rotate through menial jobs, such as gift shop worker and manicure parlor manager. When she is at sea and not at work, Ingrid primarily spends her time peering moonily out through the small, sealed porthole in her tiny room or meeting up with her two friends, Mia and Ezra—a sister and brother who also rotate through jobs onboard—to eat bland leftovers in the crew mess, watch old sitcoms, or play Families, a game they’ve created in which they take turns being the mother, father, or doted-upon baby. “We all agreed being the baby was best,” Ingrid narrates. On land, she mostly drinks—a lot—and makes bad decisions. When Keith chooses Ingrid to participate in an eccentric mentoring program, she is forced to reckon with her past missteps, personal shortcomings, and painful losses—and things get really strange, leading to Ingrid’s degradation, but also possibly…growth?
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CHILDREN OF THE FORESTTwo light-skinned siblings spend the day outdoors imagining they are living wild in the forest. Though the text, narrated in first person by the older sibling, relates daring escapades, the artwork depicts the kids in their own backyard. The older child teaches the little one survival skills, and the two come upon a puma (actually a house cat) and must run away, leaving their food behind. The children follow the footprints of “a wild beast,” and soon it’s time for a showdown—“It is either us or him.” The siblings conquer the beast (the family dog), and the narrator informs readers that they will eat well tonight. Next it is time to set up the tent and a warning system in case of more wild creatures. The alarm goes off! But it’s just their mom with water bottles, and soon it’s time for bed—back in the safety of the children’s bedroom. The pencil and watercolor illustrations use a combination of saturated and light colors; scenes depicting big moments fill the page dramatically, and readers will feel immersed in this verdant, idyllic world. The contrast between text and images is clever, and the relationship between the protective older sibling and the younger one is delightful. (This book was reviewed digitally.)
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NEVER A DUKEWhen Rosalind Kinwood’s lady’s maid goes missing she seeks help from Ned Wentworth because of his association with others from low origins. Ned may have ducal connections and wealth now, but his grim past included poverty and time in prison, which have led to scandalous rumors. Rosalind understands how it feels to be judged and criticized; she gets ridiculed for her outspokenness and the way she used to stutter. Rosalind and Ned get along well from the get-go. The romantic arc is primarily about how they each become more confident in themselves through being loved by the other. It’s a soft, sweet love between kind, thoughtful, and intelligent characters. While the story mostly focuses on the two leads, the narrative occasionally shifts to various side characters in a way that adds further excitement to the plot and more depth to the characters. Drama comes from the mystery, although that’s given a leisurely pace until the climactic end. Rich with historical detail, the novel weaves in other plotlines that explore family dynamics and social issues. The large cast of side characters may be overwhelming to newcomers to the Rogues to Riches series, but for those who have read prior installments, it’s a treat to check in with all the other Wentworths and their partners.
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WHEN WE FELL APARTUnder great pressure from her demanding military father, Yu-jin, a sensitive girl from the southern part of South Korea, gains acceptance to a prestigious all-girls college in Seoul. She secretly hopes to "reinvent [her]self, start anew" in the dazzling big city, where she will discover her passion for filmmaking. But after her parents move to the capital and her father is named National Minister of Defense, she remains under close scrutiny. That creates big problems for her after she falls for So-ra, a strong-willed female classmate who wants to be open about their romance. To divert (literal) spying eyes, Yu-jin dates Min, a likable biracial Korean American who moved to Seoul from Los Angeles as a Samsung consultant in hopes of finding "some sense of belonging." Then there is the stylish Misaki, a Japanese outsider from a wealthy family whom Yu-jin and So-ra invite to be their roommate—only to coldly ignore her—as another means of hiding the true nature of their relationship. All permutations of this four-way connection unfold dramatically after Yu-jin is found dead of an apparent suicide. In an unusual format, the story is told in alternating chapters by Min (through the third person) as he investigates Yu-jin's death under threat from government operatives, and by Yu-jin, who narrates the events leading up to her death. Wiley, a first-time novelist, tends to explain his characters' needs and motivations. But fueled by deep feeling and a powerful sense of place, the book gains real emotional traction in capturing the despair of striving individuals pushed to the margins by conformist norms.