Knight masterfully balances the personal and the political in her young adult debut, an engrossing portrait of a Southern teenager who, in the midst of the social upheaval of the Civil Rights Movement, learns that he’s biracial. In 1966 Alabama, no one would have used that word to describe Mark Lawson. Instead, he’s called mixed, colored, and even mulatto, but the blue-eyed blonde so baffles racists that one dubs him a white n-word. With adroit first-person narration, Knight captures Mark’s amiability and thoughtfulness, even when he damages important relationships because of anger, fear, and a debilitating uncertainty. Knight is especially strong at dramatizing how it feels to grow up as monumental change happens in increments, with segregation making Mark’s search for identity a legal and moral minefield.

Mark’s family had moved from a tenant farming community to Montgomery after his father’s death, and his white mother allowed the 14-year-old’s appearance to determine their place in the segregated city. After the board of education expels Mark from a white school, they must relocate to a Black neighborhood, and his mother loses her subsistence job. Mark can deal with the privation—they’d always been poor—but his mother’s worsening porphyria is a constant worry, and while Frederick Douglass High School provides him with a heartening vision of Black community, he remains unsure of where he truly belongs.

Discussions about the drawn-out process of desegregation (an afterword provides helpful details) are deftly woven into Mark’s interactions with family, friends, teachers, and members of his integrated baseball team. Everyone knows they’re living through a major societal shift, and are trying to find—or regain— their footing. Through Mark’s experience on both sides of the racial divide, Knight shows the difference between having empathy and suffering the forced restrictions of segregation. In the process of reconstructing his fractured self, Mark gains the maturity to see that identity is forged from contradictions, and that struggle is another word for life.

Takeaway: Vivid and wise historical fiction about a biracial teen in 1960s Alabama.

Comparable Titles: Phillip Hoose’s Claudette Colvin, Kristin Levine’s The Lions of Little Rock.

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

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Williams’s spare, moving, and illuminating debut poetry collection is written with rare feeling for silence, blankness, and the blurred reality of caring for a parent suffering from dementia. “Who are we now?” Williams asks, often, throughout White Doe, the inquiry voiced at times by the speaker, but also her father, her mother, and their voices in unison. Williams uses the question to signify much, especially the loss of identity on the part of the father with dementia and a corresponding one experienced by the surviving family members. The collection asks, amid observations of caring for him (“a new language from// a black cave// bats batsb atsbats mba tsbats”) and affecting memory and nature poems (“we hear a crack in the field, birds rush/ from their branches”), who does the speaker become as she loses her father?

Absence is multi-dimensional in Williams’s collection; on the page, the use of white space allows the size and scope of this absence to expand and contract, all while emphasizing for readers silences and at times snowy landscapes. Crucial bits of language, like the mind of the speaker’s father, at times are missing, and some poems seem to be crumbling on the page, the words like rubble. But even on the metaphorical level, Williams makes absence a living presence: “that missing // painting on the wall // shines its own sun like dirt.” The power of White Doe, though, comes from precision of language and a surprising sense of hope, as Williams captures an awakening in the loss.

Birds, their feathers, and the seeds they collect, along with coyotes, deer, snow, and ice, appear and disappear from poem to poem, contextualizing the speaker and her ailing father in the natural order of life and death. “Word of your passing has reached the tree line,” Williams writes in “Don’t Be Afraid,” “now the animals // sing,” and the loved ones grieve, and the necessary, beautiful cycle continues.

Takeaway: Wintry, feather-soft poems of caring for a parent with dementia.

Comparable Titles: Margaret Atwood’s Dearly, Beth Copeland’s “Falling Lessons: Erasure One.”

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

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Arnold pulls from years of leadership coaching experience to deliver a sharp debut bursting with interactive advice for readers. “The next frontier of true success in the twenty-first century will be profound, lasting, self-generating peace,” she predicts, and that cornerstone of “rooted peace” props up this guide, as Arnold delves into the mind-body connection, how to limit negative and damaging self-talk, and more. Whether teaching the need for gratitude, ways to cope with “fiery” emotions, or exploring the role spirituality plays in inner peace, Arnold leaves little room for doubt that the cost of stress, anxiety, and burnout is far too high, but “consistently generating internal peace..[is] priceless.”

Placing the responsibility squarely on individuals for creating inner peace that sticks, Arnold addresses the stumbling blocks that can get in the way, tailoring her advice to those readers who want a “purposeful, authentic life, rather than merely getting through the day.” The counsel is direct, but supportive, gently challenging stagnant patterns and offering healthy replacements, as in her admonition that readers need to re-evaluate their “relationship with time” and get comfortable with a little friction if they want to grow. She covers the basics invitingly, offering a clear breakdown of her three separate spheres of rooted peace (internal, existential, and relational), but beyond that she supplies readers with an overflow of activities and custom-styled exercises to implement her advice.

In contrast to the guidance found in many self-help books, readers will leave Arnold’s doorstep feeling refreshed, respected, and renewed. From her ideas on “dancing with mortality” instead of ignoring it to never being “afraid to stir things up,” Arnold consistently loops back to our ability—and responsibility—to “shake up your world for the good.” We may never be perfect, she comforts, but that certainly doesn’t mean we should allow the status quo to go on forever—instead, we “can generate deep fulfillment and joy on [our] own terms.”

Takeaway: Hands-on, refreshing guide to building lasting inner peace.

Comparable Titles: Nick Trenton’s The Art of Letting Go, Brianna Wiest’s The Mountain Is You.

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

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Writing with grace, poignant wit, and hard-won insight, Zarecki delivers a poignant and deeply personal account of her journey through breast cancer, intertwined with the echoes of past trials and triumphs, including the tragic death of her first husband years before. From the moment of her diagnosis, Zarecki finds herself thrust into a world of fear and uncertainty, haunted by memories of her mother's battle with ovarian cancer. Yet, amidst the darkness, she discovers a wellspring of courage and resilience within herself, plus, in her home with her kids and second husband, Mark, a “cocoon of comfort and healing.”

The narrative weaves seamlessly between Zarecki’s cancer experiences, and poignant reflections on the past, though at times the pacing can feel uneven. Drawing on the losses she’s endured, years of measuring up to the challenges of single motherhood, and the profound impact of her mother's illness, she offers readers a raw and unflinching portrayal of love, loss, and the resilience of the human spirit. Zarecki describes adopting a mantra to help push through: “I am the storm,” she tells herself when embarking on chemo treatments, but she frankly notes that, at the time, she wasn’t “convinced of that yet.” What sets Golden Scars apart is that unwavering honesty and vulnerability.

Zarecki lays bare her fears, doubts, and moments of despair with a heartbreaking but candor, from the process of shaving her head with a beard trimmer, to the deeply human moment of beholding her body after surgery, to her struggle to give herself the “grace” to not feel impatient as her “body works to recover from the brutal treatment that coursed through my veins to attack the cancer cells.” Zarecki’s story, told with a confidence she admits not always feeling as she lived it, offers a reminder to embrace our own golden scars as symbols of our courage, resilience, and capacity for healing.

Takeaway: Frank, moving account of surviving breast cancer with love and support.

Comparable Titles: Cara Sapida’s Not the Breast Year of My Life, Terri Sterk’s Thrive After Breast Cancer.

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

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On her 16th birthday, Megan Elida Fay, descended from a long line of Wendy Darlings, is still haunted by her mother’s tragic death 10 years earlier. Abandoned by her father after her mother’s death, Megan moved in with her maternal aunt, the cryptic Georgia, in a clapboard cottage perched on the Maine coast, where she spends her time desperate to decipher whether her parents’ stories of Fable Island and Peter Pan were true. When Georgia informs her the magic is real—and that Meg’s expected to find the bridge to cross over to Fable Island—Meg feels trapped in someone else’s story.

Lewis (author of Restless) engraves this modern-day fairy tale with a deep sense of regret, from Meg’s debilitating grief to her aunt’s weariness at how to help to her father’s downward spiral when the magic feels impossible. Meg’s teen angst is palpable, as is her internal struggle between what she sees in the world around her and the mystery she senses hovering just out of her reach. Too practical and too wracked by grief, Meg works hard to convince herself that her mother can’t have transcended death to live on Fable Island, despite the glimmering signs that she is part of something much, much bigger than herself.

Part coming-of-age journey and part lesson in grief, Lewis’s tale encourages readers to let go while moving forward. Meg’s relationship with her father—and his failed attempt at reconciliation—is painful to watch, as is her best friend Theo’s quicker grasp of magical thinking, despite Meg’s legacy. After much effort, Meg eventually concedes: “Fable Island may not be real but it exists… It is in the hearts and minds of those who believe.” Lewis delivers a delicate balance between real life and the whisper of magic throughout, building moments of drama and whimsy that will stick with readers long after the last page.

Takeaway: A grieving teen undergoes a magical coming-of-age journey.

Comparable Titles: Liz Michalski’s Darling Girl, Alex Flinn’s Beastly.

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

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Beamo Roamer scavenges a post-apocalyptic America one thousand years into the future in Wow’s gritty debut. When Beamo discovers a military map leading to the location of the Lost Fort Knox Gold—rumored to be the last treasure of the fallen “Merican Government”—he’s immediately captured by a gang of ruthless bikers, led by his once-friend Tee Sal and Tee’s sister Little Bit, prompting Beamo to quickly ingest the map. Rather than give up what he knows, Beamo shrewdly contracts with Tee to navigate them through the waste land known as Merica, bypassing once-thriving cities decimated by nuclear waste and fighting outlaws clothed in the literal skins of their enemies on a no-holds-barred treasure hunt.

Wow immerses readers in this jaggy, apocalyptic no-man’s-land, writing convincing characters that vibrate with appeal as they collide with all manner of monsters—both natural and human. Their tenuous hold on life is palpable throughout, and Wow bewitches with their stories before dashing hope in spectacular endings. The terrain here is deadly, no bones about it: take Roofy, who abandons her children to hunt for a better life, only to suffer a shocking attack when she’s at the cusp of controlling her own destiny. Beamo is a force to be reckoned with, winning over Tee with his cunning intellect and street-smart survival know-how, all while romancing Little Bit in an intensely passionate crescendo destined to upset the fragile balance of their alliance.

The characters here are explosive—and their interactions can be blistering even during the best of times—but that’s to be expected in a story where death breathes around every corner and “phantasms [stroll] along the edge of the grave plots in the bright daylight.” Wow draws eerie similarities to the problems plaguing contemporary American society, and the ending smashes expectations while delivering a sliver of hope for a more palatable future.

Takeaway: Brutal, no-holds-barred romp through post-apocalyptic America.

Comparable Titles: G. Michael Hopf’s Seven Days, C. Robert Cargill’s Sea of Rust.

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

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Fanning tinges this evocative portrait of 19th century Irish immigrants in Chicago with dark strokes of a quickly expanding America that often neglects, brutalizes, and abandons its newly arrived citizens. In 1880, Jimmy Farrell is just one member of a large Irish family trying to make ends meet in a freezing Chicago flat. At 12 years old, he’s granted a foray into political activism with his father, John, a staunch advocate of non-violence, and his uncle Jim, who believes in resistance through violent means. Jimmy grows up attempting to reconcile this fundamental difference, further complicated by his uncle's death during one such revolt.

The complexities of Irish identity in America during this transformative period take center stage in Fanning’s fiction debut, and through the Farrell family, Fanning showcases the struggles and resilience of immigrant communities as they pursue a fixed identity in a new land. At work, Jimmy navigates the changing dynamics of his community as he transitions from a store clerk to a position on the police force, finding solace in his personal life through Mary Ann, his boss’s daughter. Despite her wealthy upbringing and different worldview, the pair discover inspiration in their shared passion for the arts as a way to navigate life's injustices and tragedies.

Jimmy's eternal love for music serves as his source of comfort throughout the narrative—and the means through which he expresses his identity within the Irish American community. Fanning’s storytelling is introspective and observant, allowing readers to experience firsthand the characters' struggles and triumphs as they navigate a harsh, unforgiving world: early on, John imparts responsibility to Jimmy with a reminder of the sacrifices made for their freedom, stating “ye must know something of the years—aye, and the generations—of pain that stretch out behind us.” This is a skillful and rich rendering of early Irish American life.

Takeaway: Rich narrative of 19th century Irish American life.

Comparable Titles: Kate Kerrigan’s Ellis Island, Kristina McMorris’s The Edge of Lost.

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

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The title of Griffith’s rousing treatise introduces the book’s central metaphor and argument: that a powerful “theater of lies” has corrupted contemporary life, distracting us, stressing us out, encouraging our biases and hatreds, diminishing trust in institutions and expertise, even—with hate crimes and science denialism—killing us. For Griffith, the “theater” is key to the lies’ success, and he makes a persuasive case for mis- and disinformation as deliberately crafted narratives in the Aristotelian and Hollywood traditions, with story hooks and villains chosen to grip the minds of target audiences. His analysis of the beats of Die Hard, and how they reflect the techniques of media propagandists, is especially illuminating. “The Theater of Lies is a provider of addictive substance,” he writes. “We, the audience, keep demanding more.”

Theater of Lies urges individuals and institutions to demand and defend something else: truth. Griffith opens with a sweeping—perhaps too much so—history of lies and the manipulation of the public, stretching back to the Garden of Eden, the origins of race as a concept, and Kipling’s insistence on a “white man’s burden.” This material is impassioned and sometimes illuminating, but the discussions are brief for such epochal subjects. More immediately compelling are examples from recent decades, mostly from the U.S. and Canada, and many fresh accounts of events readers might not know about, showcasing how “purpose-driven lies and misinformation are produced, staged, and presented.”

With sharp insights, clear and inviting prose, and an upbeat belief in humanity’s capacity to do better, Griffith lays bare the craft and reach of those who lie for profit and power and the failures of mind that inspire their targets not just to believe propaganda but to spread it. Refreshingly, he seems unconcerned with being accused of bias when discussing, say, the “wrecking ball” that is Donald Trump. Instead, he models the healthy habits of thinking and analysis that he urges readers toward in the book’s last third, which encourages standing up for truth, acknowledging one’s own assumptions, and rebuilding trust.

Takeaway: Incisive history of lies and misinformation, and a call to action.

Comparable Titles: Lee McIntyre’s Post-Truth, Barbara McQuade’s Attack From Within.

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

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Monroe harnesses the comforting power of a kitten’s love in this warmhearted debut picture book. On a bright May morning, Momma Kitty gives birth to a new litter—five adorable, frisky kittens, each with their own unique personality. The dauntless black and white one explores with abandon, meowing for Momma Kitty whenever her adventures take her too far away; one pair, “stuck together like glue,” spend every moment side by side; and the taffy and orange kittens quietly pad behind Momma Kitty wherever she goes. When it’s time to find forever homes, Momma Kitty discovers, much to her chagrin, that her orange kitten can’t meow.

Kittens, of course, are as cute and cuddly as can be, and Monroe artfully evokes that specific warmth as well as a more universal language of love. Whether it’s their frisky temperament as they roll around on the floor wrestling, the soft rumbling of their snores during a nap, or the orange kitten’s silent meows, Momma Kitty’s litter is a joy to behold. Monroe’s choice to make each kitten distinctive, with its own delightful traits, is the perfect fit for a feline story, and younger readers will adore the litter’s amusing antics. Draw & Care, an illustrating team in Ukraine with a mission to rescue the country’s displaced pets, deliver stunningly delicate drawings that bring each of those personalities to life.

Amid all the four-legged charm, Monroe’s story carries a crucial message: every animal—and child—deserves a safe place to belong. When the litter gets adopted one-by-one, leaving just the silent orange kitten behind, young readers may start to worry—but at the last moment, Grace, who is Deaf, swoops in and finds the orange kitten’s silence a perfect fit, and her reverence at its vibrating purr is truly precious to see. This tenderhearted story delivers just the right dose of hope.

Takeaway: An adorable, silent kitten finds its forever home.

Comparable Titles: Sophie Blackall’s Negative Cat, Kelly Bennett’s Not Norman.

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

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Veteran director Little (known for movies like Marked for Death, Rapid Fire, Free Willy 2, Murder at 1600, and Halloween 4) offers an insightful, often funny account of his up-and-down career, sharing close-ups of how he made his own way in a devilishly difficult industry. On-set anecdotes reveal not just the nuts-and-bolts of movie-making but what it takes to maintain control on set, from an untested Little brandishing a one-way ticket back to L.A. to call the bluff of the money men considering replacing him during a location shoot, to legendary cinematographer László Kovács giving Little a movie-saving sign of support in front of meddling producers.

A movie-mad Midwesterner-gone-Hollywood, Little writes in a refreshingly straight-forward style, telling the story of achieving success, first in indies and then at studios, while managing to raise a family and maintain his values. He demystifies the glamor of directing: on a shoot in India, he dealt with lost equipment, a case of dysentery, a hotel room invaded by ravenous feral monkeys, and a sudden flood that nearly destroyed their set and equipment. His accounts of tight deadlines, the pressure to score a hit in three “at bats,” the pressures of financing, and encounters with the likes of Mel Gibson, Sally Kellerman, and Clint Eastwood sparkle with surprise and authenticity. (Tommy Lee Jones turns down a submarine thriller because, Little is told, he always thought of subs “as bathtub toys.”)

Hollywood is a rough-and-tumble town that is not for the faint of heart: “When you’re young, you are invincible and play to win,” he notes, describing risk-taking as an up-and-coming director of action. “When you’re older, you play not to lose.” That’s also true in the executive suites where promises are broken almost as quickly as they are made. A captivating page-turner alive with surprising detail and jolts of wisdom, Still Rolling comes highly recommended for anyone eager to understand how the dream factory actually operates.

Takeaway: A director’s page-turning Hollywood, alive with insight and surprises.

Comparable Titles: Ed Zwick’s Hits, Flops and Other Illusions, Hal Needham’s Stuntman!

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

Click here for more about Still Rolling

Retired Air Force veteran Amelia Garcia works for her uncle, piloting remotely operated vehicles off the U.S. coast, and pacifies her guilt, left over from previous AF Reaper drone missions, with the refrain that “she had killed for her country to protect those who couldn’t protect themselves.” The job leaves space for small pleasures, like collecting fascinating objects from the ocean floor, but when Amelia retrieves a strongbox emblazoned with a Nazi symbol, she can’t shake the feeling that something’s off. That sense escalates when, after sharing the find with her uncle, he winds up dead the next day, along with his wife and an influential justice department friend.

Hadden’s second Ike Rossi novel (after The Victim of the System) dives headfirst into forgotten history from the Second World War, thoughtfully investigating the price of truth and meditating on what it means to be a contemporary American patriot. Despite her training, Amelia knows this mission is over her head; she seeks out the help of Ike Rossi, a long-ago football star now turned private investigator, to sleuth her artifact’s importance—and uncover who’s willing to kill to get it. Thus ensues a brutal game of keep away, with Amelia and Ike pitted against dark forces that will stop at nothing to keep the enigmatic box’s contents hidden.

Hadden writes with noir flair, though Ike’s compassion, no matter the personal cost, forms him into a much different hero than those pulpy PIs of the past. Amelia holds her own—a fierce warrior sworn to protect her country from all enemies, both foreign and domestic. That resolve is tested at every turn, as Amelia and Ike quickly discover a conspiracy being nurtured by the upper echelons of American politics. Hadden deftly probes the limits of patriotism, leaving readers teetering on a knife edge of right vs. wrong—and eager for more Ike Rossi adventures.

Takeaway: Air Force vet and PI race to solve a dangerous conspiracy.

Comparable Titles: Robin James’s Burden of Proof, Iain King’s Secrets of the Last Nazi.

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

Click here for more about The Secret That Killed You

Schwartz’s playful, wholesome debut picture book is a rhyming bedtime love letter to children and childhood as a fleeting, blissful state of being: “Please slow down time and keep it this way... I want to embrace this moment, forever and a day.” Rather than a narrative, Schwartz’s illustrated poem speaks to the parental urge to preserve childhood, its innocence, laughter, and joy, while still appreciating the present, including endings. Towards the book’s conclusion, as preparations for bedtime commence, Schwartz offers a series of reflective, adoring couplets, like “in its perfectly imperfect way, life seems to know what we need[ed] today.”

Wrapped in the curl of a giraffe’s neck in summer, tucked into the nest of a dove in spring, or sleeping against a polar bear cub in winter, the children in Sophia Riley’s surreal, whimsical illustrations are coddled by a gentle menagerie that loves and protects them as a parent would. Riley also includes scenes of children swinging with monkeys, holding hands with penguins, and hammocking with owls, which create a visual atmosphere of peace and play that aptly complements the idealized childhood Schwartz imagines in her time-capsule poem. Against Riley’s rosy-cheeked digital renderings, Schwartz’s nostalgic, yearning poem comes to life.

Though Riley’s illustrations and Schwartz’s doting rhymes are engaging for young readers, This Day I Hold Dear sends a message that seems intended more for the adults in Schwartz’s audience than the children. “When I think of the times that have come and gone,” Schwartz writes, “I take a deep breath and try to hold on.” Though comforting for parents, that sentiment may not hit home for kids, but Schwartz’s final words reach the heart of readers of all ages: “Whatever you dream, I want you to know you are loved from your head to the tip of your toe.”

Takeaway: Wholesome story of parents’ desire to preserve their children’s youth.

Comparable Titles: Patrick McDonnell’s Thank You and Good Night, Emily Winfield Martin’s The Wonderful Things You Will Be.

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

Click here for more about This Day I Hold Dear

In Gil’s uproarious but informative middle grade graphic novel, five adults trapped in kids’ bodies rollick through S.T.E.M. based adventures, conducting scientific research while completing top-secret projects for the government. Known as the Whiz Kids of D.A.R.P.A (Defense Advanced Research Projects Agency), physicist Isaac, computer scientist Cody, mechanical engineer Quentin, Wade—a biologist and behavioral scientist trapped inside a bear’s body—and linguist Rosie escape tornadoes, study animals’ body chemistry as a form of communication, visit the “Spacecraft Cemetery” Point Nemo, and more in their pursuit of scientific quests tasked by the U.S. Space Force.

The unique blend of sarcasm and intellectual wit with complex science makes this graphic novel, the first in the series, stand out. Gil’s characters are deliciously diverse—both in their personalities and fields of expertise—and their tasks, from freezing mud to prevent a building cave-in to harnessing soundwaves when fighting a forest fire, create a no-holds-barred scientific adventure that never slows down. “Science Check” components at the end of every section sum up the facts and spell out the history behind each lesson, like how Leonardo DaVinci influenced propeller blades or the background of satellites, and Gil (author of graphic novel Last Knight in the City, among others) includes QR codes for more information.

The Whiz Kids definitely have their work cut out for them, but Gil’s fun, inviting text makes the job as entertaining as it is important. Whether it’s investigating reported alien sightings in Arkansas or the group helping Wade navigate how to be a talking bear and a scientist at the same time, readers will find much to love here. Serious moments dot the landscape as well, particularly Cody’s experience with gender dysphoria, which Gil handles respectfully, stirring powerful emotions for readers as Cody bravely tells his parents “I have a second chance to live my life truer to how I feel inside!”

Takeaway: Fun-filled, S.T.E.M-heavy graphic novel for middle grade readers.

Comparable Titles: Matthew McElligott's Mad Scientist Academy series, Otis Frampton's Oddly Normal series.

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

Click here for more about The Whiz Kids from DARPA: Book One (First Printing)