This spry novel from Light, writing under a pen name, vaults into one of perennial frays of English literature: contesting the authorship of the works we know of as Shakespeare's, the plays and sonnets that are the very headwaters of the English language. In lengthy prefatory material, Light identifies Edward de Vere, the 17th Earl of Oxford, “the most well-rounded advanced scholar of the English Renaissance,” as the true bard, arguing—like many before—that the historical record, the complex cultural and political dynamics of the Elizabethan era, and richness of reference and knowledge in the plays themselves simply don’t match the long-established attribution of the works to “the Stratford man.” The novel itself finds Harry Haines, a contemporary playwright who has researched “the consequences of Elizabethan literary controls,” striving to save the Trenton, New Jersey, Shakespeare festival and resolved to investigate the truth behind the possibility of the earl’s authorship, challenges that Light cleverly binds together.

Light takes on the theory with his director, Lance, as they create a production of a modernized Hamlet while convincing the rich, egotistical wife of their former wealthy patron to fund the festival by offering her the role of Queen Elizabeth. Light’s erudite, engaging novel explores contexts of authorship, theater, and intrigue in this age and in Shakespeare’s, blending historical enigmas, contemporary stage drama, and a welcome sense of play. While the prose at times edges into the essayistic, Light is clever and involving throughout, offering deft wordplay and a sense of the politics of theater, then and now.

The dramatic juxtaposition of medieval and modern, spurred by conspiracies and drama, provides plenty of insight on the importance of studying history and literature. Lovers of the mysteries of Shakespeare—and anyone fascinated by why those mysteries and the work itself remain so urgent—will enjoy and be challenged by this crisply stimulating literary experience.

Takeaway: Playful novel of theater, mysteries, and the question of Shakespearian authorship.

Comparable Titles: Charlie Lovett’s The Bookman's Tale, Julie Schumacher’s The Shakespeare Requirement.

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

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Williams draws on years of professional sales experience to deliver this concise solo debut on training sales teams to grow and expand in response to ever-changing market demands. “Diligence is both a matter of methodical, excellent work and a matter of character,” she writes, and her guide breaks down 10 “dimensions of diligence” that she promises “can be operationalized within the business to drive the best results.” Predicting continued market rebound, Williams urges leaders to prep their teams to respond proactively, an outcome that requires flexibility and, most importantly, the willingness to forgo quick fixes for long-term, proven solutions to sales problems.

Every sales team experiences obstacles, and the answer to resolving those obstacles, according to Williams, lies in her Sales Effectiveness Program—an “alignment effort” that includes sales vision clarity, training managers to perform as coaches, and helping salespeople master 10 crucial diligence dimensions, broken down into two categories: “selling dimensions” and “personal leadership dimensions.” She hits the highlights of each dimension, such as the ins and outs of growing strong, productive relationships (a crucial dimension, given the sales industry’s basis on relationship development), mastering the art of persuasive communication, adhering to a service mindset, and more. Williams lists “watchouts” and core beliefs for each dimension, and she recommends businesses spotlight their sales methodology, process, and development plan to increase overall effectiveness.

The material is tailored for those professionals with a solid basis in sales know-how, and Williams includes handy tools—such as a suggested scorecard for comparing interview performances and two-year example project plans—that leaders will appreciate. She recommends her diligence dimensions—described as “ideal seller behaviors”—are applied flexibly, according to company needs and desired outcomes, but their significance is obvious throughout, as Williams advises, “A company’s very existence will rise and fall on its sales performance.” This is a resource sales professionals will turn to again and again.

Takeaway: In-depth resource on improving sales team performance.

Comparable Titles: David Burkus’s Best Team Ever!, Michael T. Bosworth and Ben Zoldan’s What Great Salespeople Do.

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

Click here for more about The Diligence Fix

Malone’s adventurous debut middle-grade historical fantasy takes readers back to the California gold rush, where a fantastical myth is real and in danger of being discovered. Twelve-year-old Ben Coolahan lived a comfortable life in Boston with his aunt, until his father died in an accident in the family mine in California. Ben was sent for by his step-grandmother who now ran the mine, at his father’s request, as the only remaining heir. Upon his arrival, Ben quickly learns he’s now in a much different, much dirtier, much more dangerous world. The medallion and encrypted letter left for him by his father lead to clues he never would’ve expected: the elf-like Tommyknockers aren’t just real, they’re in danger—and Ben is running out of time to save them.

Written for middle graders, Malone instead creates a great example of a book for all ages. Both adults and children will be immediately drawn into the well-researched history of the gold rush, never shying away from the hard truths of not only how the miners lived, but of what happened to the land being mined as well. Malone keeps readers drawn in with much mystery and adventure, all seen through the eyes of an engaging, easy-to-cheer-for young protagonist, as Ben learns who he can trust and works with them to solve the equations and codes to uncover the hidden messages from his father.

The fantasy element comes from a real myth told by Cornish miners. Tommyknockers were said to have made knocking sounds in the mines to warn miners of impending danger, but are never seen. In this story, Ben’s father discovers they’re real, and they live inside what’s called a “Mother Lode”—an enormous amount of gold. They must live under this great golden dome underground, and they will die without it. While Ben works to keep the miners away as they inch closer, he also learns the effects human contact has made on the Tommyknockers, which will leave readers reflecting on humanity itself, plus fear and greed.

Takeaway: Phenomenal combination of history and fantasy in the California Gold Rush.

Comparable Titles: Avi’s Gold Rush Girl, B.B. Alston’s Amari and the Night Brothers.

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

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An idyllic day in the life of “professional powerhouse and supermom” Rochette is shattered when a distracted driver nearly kills her in a suburban crosswalk, a nightmare experience that catalyzes this inspirational memoir debut. Her survival is miraculous but leaves her grappling with uncomfortable questions. Was she “saved for a reason?” Is it “selfish” to receive help when she’s “already so lucky?” Rochette explains her hyper-vigilance against being needy: “I was raised on self-sufficiency and independence, on the American dream of blood, sweat, and bootstrapping.” As she comes to grips with her serious physical injuries, PTSD, and Traumatic Brain Injury, Rochette sees a dark side to this extreme “mentality of self-sufficiency” for the first time, beginning with the devastating realization that, for her, “dying under a car would have been much easier…than surviving with grace.”

Rochette’s friends, family, and even hairstylist often model the grace she’s so eager to find. With an open, conversational style that pulls no punches, Rochette creates an intimate portrait of her recovery from trauma, and how she made peace between her faith in “bootstrapping” and the very real limitations she was left with after the accident. Though the insights in the book’s closing section (cheekily titled “My Sermon”), are familiar truisms, i.e. “be vulnerable,” “love big,” and “say sorry,” they are nevertheless hard-earned and inarguable wisdom from a survivor eager to “pay it forward.”

Following her therapist’s suggestion, “you can try to hide your cracks, or you can celebrate them for how they make you beautiful,” allows Rochette to reframe the accident as her “Unbreakable Day,” and to understand vulnerability not as a character flaw, but as “the other side of mental toughness.” Her story is rich with unforgettable details, her candor is remarkable, and her gentle humor eases tension in all but the darkest moments.

Takeaway: A survivor’s inspirational lessons in refusing perfectionism and redefining strength.

Comparable Titles: Allison Pataki’s Beauty in the Broken Places, Céline Santini’s Kintsugi: Finding Strength in Imperfection.

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

Click here for more about The Unexpected Benefits of Being Run Over

Six year-old Marnie narrates this approachable and conversational introduction to the concept of inclusion in Miller’s big-hearted picture book. Covering differences such as ability, race, skin tone, and more in broad strokes, Marnie’s precociously wise narration draws readers in with questions addressed directly to readers (“What’s the scariest thing you’ve ever done?”) interspersed throughout the text, especially in the latter half of the book when she shares facts about herself and asks questions of the audience to engage them as well. Featuring vibrant, hyper-realistic digital illustrations, We’re the Same, We’re Different, and We All Belong is an interactive introduction to broad social emotional learning topics.

No artist is credited with the book’s illustrations, mostly of Marnie and other smiling young people of diverse backgrounds, presented in warmly lit settings with a glossy, digital sheen. At times inconsistent in style and characterization, these images sometimes look faintly familiar, especially a glimpse of a fairy and an abominable beast, though they do bring life and connection to the story and lesson.

Marnie is a memorable narrator—“I like playing with my dolls even if I’ve cut their hair off and fed them so much food they smell like egg sandwiches and tuna!”— though her age on occasion seems out of sync with the text, which builds to inspirational life lessons like “Mistakes help me learn!” Regardless, young readers are likely to appreciate opportunities to answer questions and reflect on their own lives and the ways in which they’re different or the same as their friends, classmates, neighbors, and more. While the discussion of differences is broad, We’re the Same, We’re Different, and We All Belong offers a conversational introduction to the basics of inclusion and in fact is likely best suited as a conversation starter with children.

Takeaway: Inviting introduction to inclusion as told by a six year-old narrator.

Comparable Titles: Cyana Riley’s Not So Different, Aisha Saeed’s The Together Tree.

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

Click here for more about We're the Same, We're Different, and We All Belong

A retired military lifer and non-commissioned officer who served tours in Bosnia and Iraq, Pinion reflects on his experience with a book that’s partly a compendium of funny stories and leadership lessons, but also a sort of memorial and expression of grief for soldiers lost along the way. The book is funny, as the title suggests, but also resonant thanks to Pinion’s willingness to be vulnerable and expose issues regarding mental illness in the military. Still, it's obvious throughout that he loves the Army and believed in his missions. As a cavalry scout, specializing in frequently dangerous reconnaissance missions and house-to-house fighting—life-or-death situations for him and the soldiers under his command—he had to believe.

Each story is told in roughly chronological order over the course of his career as a soldier, and each chapter describes an experience that taught him a lesson. Early on, a “ballsy” platoon sergeant sent a company of soldiers back from a gunnery range to complete prerequisite training they hadn’t yet taken. Pinion sees the wisdom in this: you should never turn down the opportunity to train if a lack of it could prove fatal. Another story finds Pinion impersonating an officer to help his platoon sergeant get out of trouble, something he did willingly because the sergeant loved his men, while a wild incident in which a superior asked for help proving his wife’s infidelity taught Pinion to question illegal or immoral orders.

As a leader, Pinion emphasizes training and discipline so soldiers know their jobs—and strived to show his troops that he cares about them by being willing to get out in the field, unlike one commander in Iraq who never wanted to leave the base. Pinion is emotional in detailing the stories of one of his men who jumped on a grenade to save others and a beloved, enthusiastic soldier killed by a sniper. His unflinching discussion of PTSD, treatment that saved his life, and his deep concern for his soldiers all have real power.

Takeaway: Wit, lessons, and touching tributes from a career soldier.

Comparable Titles: J. Pepper Bryars’s American Warfighter, Tom Satterly and Steve Jackson’s All Secure.

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

Click here for more about CHOP THAT SH*T UP!

“I never thought I’d be sitting on such an expensive toilet,” notes the narrator of this outraged/outrageous satire, a pitch-black, Sweeney Todd-tinged story of contemporary class, murder, deep disgust, and occasional tenderness. The title suggests what the narrator will do to secure that diamond-seated toilet for himself, his wife—known only as Mrs. Sykes—and the baby that Mrs. Sykes is suddenly, inexplicably carrying in a womb she had previously joked was so barren it's fit only for scorpions. The author of the miracle pregnancy seems to be the mysterious Mr. P, or Mr. Pyjamas, who makes the couple’s dreams come true, from sudden wealth to dazzling abs. The price? The narrator must furnish Mr. P with fresh bodies.

To meet Mr. P’s need, and to keep his family from the horrors of living in a “council estate,” the narrator targets the “mentally-ill, germ infested vermin” whose existence most pains him: his and Mrs. Sykes’s extended family, a lot of “degenerates” who can’t get through a get-together without screaming matches and public sex acts. The narrator’s deep distaste for such offenses is matched by his relish in describing them—in fact, other than showing loyalty to and providing for his immediate family (“Not many commoners are given such an opportunity”) what he relishes most in life seems to be the registering of his disgust at “pointless lives,” at “ignoramuses,” at the large breasts of relatives, at a world where “everything and everyone is pointless.”

Readers who can stomach the pointed, unrelenting repulsiveness, and who can be bothered to invest in the fate of a family murderer, will find sharp prose and a story that gets wilder and more inventive as it goes, revealing what Mr. P wants the bodies for, the shocking scope of the operation, and just how far the narrator can be pushed. Since it opens at such a pitch, the novel’s only real suspense is whether Charlton’s zeal for fresh, repugnant, quasi-comic thought-experiment horrors will ever flag. Spoiler: it doesn’t. The biggest surprise, though, is that this soiling journey arrives at an ending that achieves poignance despite the bleakness.

Takeaway: Pointedly outrageous story of class, murder, and life’s emptiness.

Comparable Titles: Michel Houellebecq, Michael Sonbert’s We Are Oblivion.

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

Click here for more about Decadence Kills

Eby offers readers a warmhearted debut that captures the true magic of the holiday season. Designed for children who are curious about whether Santa Claus is real—those young readers who “possess the wisdom, kindness, and strength to be trusted”—the story tackles the doubt that comes with growing up, in a sensitive and thoughtful way. Readers are encouraged to think deeply about their Santa Claus musings—how he fits so many toys into one bag, how he manages to reach so many children in just one evening—and view those questions as a sign of growing up, while Eby transforms their doubts into an uplifting message on how Santa really exists in the heart of every caring, generous person.

The idea that Santa may not be just one person but instead is “many working in unison… their cooperation and shared trust create[ing] profound beauty” is appealing—and a gentle way to help young readers through what can be a difficult transition. To provide purpose and keep the Christmas spirit alive, Eby details three promises that kids can make to become a Santa themselves: create the magic, give generously, and protect the believers. At the story’s close, readers will find the “Oath of Three,” an opportunity to be sworn in as a Santa by their adult reader (charmingly referred to as a “Santa Elder”).

Harper’s vintage illustrations, suggesting the warm Americana of Norman Rockwell, add a softly textured feel that will charm readers of every age. Whether it’s a group of kids arguing at school about Santa’s true identity, the joyous expressions on young ones opening Christmas presents, or the antique holiday decorations draped throughout, Harper paints Christmas spirit across every page. The promise to “not only experience the magic of Christmas, but now have the power to create it” is marvelous, making this timeless story deserving of a spot on the Christmas bookshelf.

Takeaway: Touching story of the importance of creating Christmas magic.

Comparable Titles: D.W. Boorn’s The Big Secret, B.K. Gendron’s The (Wonderful) Truth About Santa.

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

Click here for more about The Santa Book

Khan’s intriguing debut fantasy pits brother against brother as they compete to be the next heir to the throne. Emperor Severus Valentinian wasn’t a well-liked ruler and paid the price for his malevolence by being murdered in his chamber. Having not yet appointed an heir, and with no children born to the queen, the kingdom faces the possibility of one of the emperor’s four sons from four different consorts ascending to the throne. Each mother wants the throne as much as the sons, but none more than Eleonora, who has plotted and schemed from the beginning to ensure she produces an heir—and a shot at real power of her own. When powerful forces outside the kingdom begin to affect the outcome of who will become emperor, Eleonora does anything she can to ensure her son’s elevation to emperor.

Khan creates four very different personalities for each brother, leading readers to understand how each has a fault that could ultimately lead to their demise. Beyond their personal weaknesses, like gluttony, the succession also is shaped by many other influences, with other nobles and politicians taking sides and moving their own pieces, and their dangerous enemies, the Vampir, waiting for the opportunity to take them all down. Khan relishes the intrigue, introducing a host of different characters and creatures with their own agendas, plus a varied number of threats, keeping the cast and readers of political fantasy on edge.

Across many different lands and jumping back and forth through several timelines, Khan covers a great deal of story in a short time. While it all comes together nicely by the end, the richness and complexity of the story can prove challenging, as Khan often leaves it to readers to work out the particulars of what timeline they are reading about, and how characters and events will affect the overall story. A lengthy prologue lacks urgency, a hurdle for readers intrigued by the book’s strong, inventive premise and conflict.

Takeaway: Intriguing story of royal succession, political machinations, and a mother’s ambitions.

Comparable Titles: John Gwynne’s The Shadow of the Gods, Django Wexler’s Emperor of Ruin.

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

Click here for more about Year of the Four Emperors

This fun epic fantasy sends adolescent brothers Jeremy and Josh first to their grandparents’ mysterious farm, where the boys enjoy the food, hate getting up early, suspect the adults are keeping secrets, and get warned never to enter the springhouse. Then, after Jeremy experiences watery nightmares and the family learns that the boys’ parents have been kidnapped, the stranger journey begins: Jeremy and Josh, along with their grandmother, plunge through the springhouse portal suggested by the novel’s title, emerging on another planet where their great-great grandfather reigns as king … and where Jeremy is recognized as somehow “special,” deeply connected to the Water Door and water itself. There, the boys join a young version of their grandmother and other alternate versions of relatives on a classic quest: travel a realm riven by occupations and political wrangling to recover a diamond of legend that, in our world, is the price to save their parents.

Jae conjures tantalizing mysteries, buoyant humor, and a potent current of suspense as the brothers face their family’s weird secrets and the dangers of planet Tetherae, which boasts a menagerie of dino-like creatures, plus occupying soldiers and near-relations with sneaky agendas. Most intriguing of these is the brothers’ second cousin, the willful Princess Chozan, whose tart tongue and questionable loyalty offer welcome intrigue.

The novel’s length is notably hefty, and Jae tends to let characters offer each other protracted explanations of developments readers already have tracked. The brothers’ dialogue (“Flipp’n frog legs!! I got the goosebumps!”) can be hard to credit for Zelda-playing kids of the present, but their hearts and souls are, like the magic of “nudges” and the connections between our world and Tetherae, well developed and engaging. Like many portal fantasy heroes, Jeremy is lauded as “special” everywhere he goes, and Jae nicely plumbs his brother Josh’s mixed feelings about this—when the brothers’ connection powers a new ability shared by both of them, readers will feel real relief.

Takeaway: Fantasy epic of brothers and their grandma with a strong current and much heart.

Comparable Titles: Estelle Grace Tudor’s Octavia Bloom and the Missing Key, Kate Milford’s Greenglass House series.

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

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In this spiritually enriching book, Thomson dives into her grieving journey after losing her husband, Dale Thomson, to colon cancer alongside Parkinson's disease. It begins with her observations of the minor signs of Dale's disease, which can usually be mistaken as typical lapses that can happen arbitrarily along the usual busyness of life until it eventually prompts them to seek medical guidance as the signs intensify. Upon facing this "giant in the room," the couple finds their faith tested and strengthened after 44 years of marriage. Her husband’s words stick with her: "Why not me?” he asks. “Why should it be someone else? God must think we can handle it.”

Thomson's searching memoir is notable for the intimate second-person perspective in which she writes as if she is composing a personal letter to readers. With frank, non-linear outbursts of sorrow, she explores grief with unflinching honesty, defying the world's two- or three-month rule of moving on. "Each person's grief is unique to their situation," she notes, her prose calm, open-hearted, at times even cheerful. Her own unique story is gracefully intertwined with scripture, inspirational sayings, and takeaway insights in each chapter that emphasize the magnitude and the ongoing journey of her loss. While her account is somewhat segmented, it conveys her message with power: that people can find joy despite loss when they learn to grieve with God.

Thomson writes, "I believe even the ugly and unwanted parts of our lives are all a part of God's plan," as she surrenders to her faith that what she wants isn't always what God wills. Finding Joy in the Midst of Grief is a gentle yet urgent reminder that faith can be a sustaining and uplifting anchor and a living testament to the enduring power of belief in God's grace—perfect for readers looking for the opportunity to deepen their faith in the face of grief.

Takeaway: A bereaved wife’s touching journey to joy and strengthened faith after loss.

Comparable Titles: Rebecca Foster's Faith's Guiding Light, Sarah Mitchell's Embracing Hope Amidst Sorrow.

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

Click here for more about Finding Joy In the Midst of Grief

Former National Transportation Safety Board employee-turned-accident investigative consultant Frank Adams tackles murder and conspiracy in this action-thriller from Meier (author of Dung Beetles of Libera). Hired by grieving widow Helen Rawlson to investigate a plane crash that claimed the life of her husband, Charles Rawlson—a powerful CEO and rising star within her father’s company, Amertek Electronics —Frank uncovers more than simple murder at work in a frigid Washington, D.C.. As Charles’ truth is revealed and the threads of corporate conspiracy tugged, Frank becomes the target of mysterious foreign hitmen with an agenda all their own.

Fans of the classic detective format will find this series starter a detective romp in the classic hard-boiled mode, as grizzled, grumbling, whisky-drinking Frank is approached at his office by Helen, a woman with “the aroma of old money in her understated elegance.” Setting Frank and the story apart, however, is his past with the NTSB and his knowledge of avionics, something Meier details with persuasive precision in the book’s most compelling scenes, as Frank investigates the crash site and examines the plane’s remains. Meier blends that lived-in realism with more traditional genre elements, with Frank quipping in the face of torture, or women saying things to him like “All the best men are either disgustingly faithful or critically wounded”—a line worthy of the vintage thrillers that inspire Meier.

Still, the plot lacks urgency until Frank’s in danger, and that old-school pulp-mystery spirit extends to some reductive characterizations, such as the helpful cab driver, Pedro Gonzalez, who manages to call Frank “senor” five times in half a page. The action is crisp and convincing, and the frozen setting shines as a hostile, miserable place, captured with the touch of hard-edge poetry—like bursts of rain that hit “the windshield and froze there in hard, flat teardrops”—of Meier at his best.

Takeaway: Hard-boiled D.C. mystery pitting an accident consultant against a deadly conspiracy.

Comparable Titles: John J. Nance, John Copenhaver’s The Savage Kind.

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

Click here for more about GUIDANCE TO DEATH

Ptah (Show Me a Beautiful Woman) fuses history, mythology, and fantasy into a spellbinding time-traveling adventure to start off the First People series. Ancient myths come to life when Auset, an Egyptian goddess, seeks help stopping Apep, the god of chaos and destruction. In modern times, six-year-old Sochima, his twelve-year old sister Aminata, and Aminata’s former best friend, Amaris, are bequeathed the heart of Auset’s husband and brother Ausar, the Egyptian god whose body was cut into 14 pieces and spread throughout time by his brother, Set. Since Ausar is the only force that can stop Apep, the children must work together and bravely travel through time collecting the 14 pieces in hopes of reconstructing Ausar’s body before Apep awakens.

Ptah excels at crafting engaging historical landscapes full of memorable characters and dynamic action. A delicate balance exists between fact, myth, and imagination, and readers of all ages will revel in the meticulous world-building tying the three together. History buffs may recognize familiar figures such as Imhotep, architect of the step pyramid, and Mansa Musa, the ruler of Mali, while also learning new historical facts such as the origins of the city name Timbuktu or how the Olmec civilization made rubber. These fascinating and informative elements seamlessly weave into high-stakes action and quick-paced chapters as the children battle a variety of malicious foes.

Resting at the core of this thrilling adventure is an emotional journey revolving around friendship, family, and self-discovery. Valuable lessons of courage, self-confidence, and confronting grief shine brightly as the children grow bolder with each harrowing undertaking. Readers are left sitting on the edge of their seats, holding their breath, and eager for more. Children of all ages will be captivated by this unique historical fantasy packed with notable characters, nail-biting quests, and high stakes. Bring on book two.

Takeaway: Standout series starter blending time travel, adventure, and vengeful gods.

Comparable Titles: Heidi Heilig’s The Girl from Everywhere, Patience Agbabi’s The Infinite.

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

Click here for more about Children of the Sun

Cetas (Thrown To The Wind) continues the adventures of Etienne Gayneau in this second installment of her A Country For Castoffs historical fiction series. In 17th-century Dutch New York, Etienne hangs out with young Lanape tribespeople Alsoomse and her brother Kitchi, and they become close enough for them to call him ”Little Brother," even if his feelings for Alsoomse are more complicated than that. The story begins with news of a Native attack on Dutch settlements, inflaming long-held prejudices held by some and panic on the part of Etienne, who is worried about his friends.

Cetas deftly blends real-life figures with imagined characters to bring this early colonial era alive, especially with regard to Native American beliefs, customs, and real-world politics. The Natives who attacked the fort are rivals of the Lanape and Mohawk tribes, both of whom prefer to trade with the colonists. However, many settlers regard all of the Natives as less than human, especially since a number of women and children were taken prisoner by the rival Esopus tribe. Amid this conflict and context, Cetas explores cross-cultural connections: after Etienne tracks down his friends, he tells the Lenape tribe's sachem (chief) about the attacks, and the sachem (who is also Alsoomse and Kitchi's father) hatches a plan to rescue some of the Dutch and establish an alliance against the Esopus.

In the course of an exciting story, Etienne is questioned by the Dutch, captured by the Esopus, and rescues a baby in peril, all as he and his friends appreciably mature in the face of conflict, working together to try to bring a vicious English settler to justice. A long denouement feels like an extended set-up for the next entry, but readers interested in 17th-century encounters between Dutch settlers and Native American tribes will find a narrative that's exciting, harrowing, and respectful to the tribes and their beliefs.

Takeaway: Compelling, respectful novel of 17th century Native Americans and Dutch settlers.

Comparable Titles: Susan Cooper’s Ghost Hawk, Patricia Clark Smith’s Weetamoo.

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

Click here for more about A Home in the Wilderness

Veteran novelist Koelsch (MOOSE. INDIAN.: A Dark Confession) presents a cozy, speculative novella set on the margin of the American Civil War. In 1862, wounded veteran Thomas Wade Duncan regains consciousness on Black Ledge Cove, a New England island populated exclusively by women. Grieving the loss of his leg, Duncan suffers as his begrudging hostess, the widow Ann Holland Dawes, detoxifies him from laudanum. When Milly, an apprentice midwife, reveals that the local library features tools of witchcraft that connect mothers to their beloved, dead children, Duncan begs her to help him discover if his fiancée, Cynthia Ladd, has committed suicide as he fears.

At its heart, this haunting tale focuses on Duncan’s acceptance of his newly changed body. Although it does not describe the Civil War battle Thomas survived, the aftermath remains strong in the novel’s backdrop. Thomas is stranded, both literally and existentially, and readers will sympathize with his struggle to break free of substance abuse while habituating himself to life without a leg. Most redeeming is his mission to find Cynthia and undo the pain he caused her in ending their engagement. Hope for her renewed love pulls him through his darkest moments. Koelsch never wastes a line, and the prose is so evocative and the milieu so vivid that readers may wish that this affair were longer, with further exploration of Cynthia’s physical and emotional journey.

“I know neither my place nor time. Many have been my experiences with thin, smoky mists… When am I? Where am I?” The depiction of a gothic, foggy New England community ratchets up suspense without bringing angst as the hero perseveres in his goal. The use of old-fashioned language matches the era without posing difficulty to readers’ comprehension. First-person point of view plunges the reader into Duncan’s anguished situation, heightening anticipation. Thick with mystery, this cozy suspense offers historical fiction fans a treat to savor.

Takeaway: Vivid, suspenseful speculative novella of the Civil War.

Comparable Titles: Anita Frank’s The Lost Ones, Stacey Halls’s Mrs England.

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

Click here for more about The Peculiar Affliction of Thomas Wade Duncan

Vince Reismuller, a battle-hardened Marine veteran and security factotum for the wealthy Arena family, must rescue his employer's kidnapped son Tommy even as it becomes clear that a murder and more may connect with his employer's shady past. In addition, Vince has to protect the Arena daughter, Morgan, from a young man harassing her and figure out if Tommy is guilty of a crime himself. The various strands start coming together, amidst deadly violence, even as Vince and Morgan struggle with their growing feelings for each other. Vince navigates through stock fraud, greed and hatred to protect the Arenas and come to terms with himself and his violent past.

Morelli places the emphasis heavily on action, and he's a master at choreographing the fight scenes. Vince doesn't pull any punches and neither does Morelli when describing the scenes. "This is only the start of how much I am going to hurt you," Vince explains to an antagonist. In a terrifically staged scene, Vince and his associates attack a house, and readers will find themselves in Alistair MacLean territory, holding their breath until the wind-up. Morelli has clearly done a lot of research, and occasionally he shares more than some readers may want to know about firearms or mountain lions, slowing the pace, but overall the book moves rapidly toward a satisfying conclusion.

However, the action is not the whole story. Morelli has elevated the theme, giving his tale a richer background than is usually found in this genre. Behind all the conflict is stock-market manipulation and other corporate chicanery, and the financial theme provides an effective contrast to the street fighting, while making the characters less black-and-white. Morelli also does a great job fleshing out Vince's character. The police detective on the case, Jerrell Troy, is a former comrade-in-arms, and their rocky yet close friendship comes across as very real. Readers will hope to meet Vince in a sequel.

Takeaway: Two-fisted novel of revenge, told with breathless suspense.

Comparable Titles: Lee Child, Alistair MacLean.

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

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