Thought-provoking but also straight-up provocative, We’ll Never Know entertains with well-crafted characters and a brisk, twisty plot, while also challenging societal norms and perceptions as it develops a resonant message about the importance of questioning authority and seeking the truth, no matter the obstacles. Readers on its wavelength—and who are comfortable with its sexual frankness and tragicomic depiction of misogyny—will find themselves engrossed from beginning to end, eager to uncover the secrets beneath the surface.
As the title suggests, a feeling of uncertainty roils the narrative. Despite the feeling of paranoia, dialogue and pacing are sharp as the tale touches on secret agents, politicians, amateur ufologists (“come to think of it, all ufologists are amateurs,” one character notes), “neo-Nazi nutjobs,” and elementary particles and the nature of gravity itself. For all the invention and comic energy, neither the unwavering intensity of the mystery nor the heady revelations ever let up until a conclusion that upends expectations—and then, for good measure, transcends them, too.
Takeaway: Twisty, literate speculative mystery finds a sexist reporter confronting everything.
Comparable Titles: Nick Harkaway, Cory Doctorow.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
Blindspot
The result is a tense, twisty mystery that reads quickly and offers an engaging, often secretive cast. Smith (Truth and Other Lies ) keeps readers guessing from the start, with a shifting line up of potential suspects: the jealous coworker, jilted lovers, people Rachel has convicted, the aggressive and inappropriate husband of a new acquaintance. Now, Rachel must rely on help from the police, a high school friend who is now a private eye, and her own wits to come out of this alive.
The character of Rachel is touchingly—sometimes frustratingly—human, at times, a tough prosecutor and professional woman who ignores some giant red flags of imminent danger. Her psychology is convincing, though: Rachel has hidden a troubled romantic past from her daughter, and her fear of revealed secrets keeps her from acting on clear threats sooner. “Why was I always so damn stubborn?” Rachel asks, upbraiding herself even as bullets fly and she reaches for her pepper spray. Smith’s understanding of Rachel’s foibles resonates, the guessing game is fun and fair, and the conclusion will satisfy mystery devotees.
Takeaway: Twisty, character-driven mystery of a DA set up by someone from her past.
Comparable Titles: Lisa Scottoline, Robyn Harding’s The Haters.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Ramirez expertly evokes the cutthroat era of Mad Men, especially when tragedy strikes during Del and Adam’s slogan presentation of The Future Is Bland, resulting in Adam being admitted to Bellevue Hospital and fracturing his relationship with Jenny. Fortunately for Adam, his family solicitor manages to get him released into the custody of his great-uncle, Nathan West, a scientist whom Adam has never met and lives in the Hudson Valley.
The story moves briskly, as Adam becomes involved in a scientific experiment conducted by his uncle’s research assistant, Halsey Dean, who has somehow managed to bring to life the detached head of a recently-executed serial killer. Though this is a jolting twist, Ramirez’s quirky dialogue and convincing milieu makes it believable, quickly immersing readers into a twisty plotline focusing on how the serial killer’s ability to control others. What began as a sort of coming-of-age narrative about a college grad in the 1960s quickly evolves into a spirited, genre-crossing story that will keep readers riveted until the exciting conclusion.
Takeaway: Surprising romance of science, marketing, and the possibility of time travel in the 1960s .
Comparable Titles: Jonathan Strahan’s Someone in Time, Robert Silverberg’s Recalled to Life.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
A fresh, modern take on the classic fairy tale Goldilocks and the Three Bears, Horn’s first in his Tairy Fails series features wizards, mythical mountains (aptly named the Mythical Mountains of the Lost), and an unsolved mystery: what really happened to Sylvia's parents, who, as the story goes, abandoned her one day in Farmington? Spoiler alert: they didn’t really abandon her, and there’s more—much, much more—to their disappearance than anyone, including Sylvia, knows. Despite that truth, unveiled later in the book, Sylvia’s a pro at masking her pain over their disappearance, mostly with a mean attitude and a penchant for trouble making. Her reputation proceeds her on the journey, but, still, she manages to make new friends and eventually stumbles onto the truth of her heritage.
Sylvia’s comical adventure, paired with Horn’s lovingly eccentric characters and Judit Tondora’s charming black and white illustrations, will wow middle grade readers—and transform them into instant devotees of the next in the series. Sylvia’s over the top antics are laugh-out-loud worthy, and, though her aversion to following the rules is entertaining, she also provides readers with a worthwhile glimpse of determination, taking initiative, and friendship along the way.
Takeaway: Fresh, laugh-out-loud funny retelling of a classic children's story.
Comparable Titles: Jon Scieszka's The True Story of the 3 Little Pigs!, Jen Calonita's Mirror, Mirror.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Lauren writes touchingly of disrupting cycles of addiction and toxic thought patterns. Her devotion to her children becomes the catalyst for the determination and discipline to pursue the less-traveled road to healing. In a narrative that leans more towards catharsis than structure, Lauren discusses an array of rehabilitation techniques, including positive self-talk, acupuncture points, frequency-inducing sound therapy, plant medicine, Divine awareness, and education—which, she notes, not only raises awareness but also increases dopamine levels. A chapter on the transformative potential of psilocybin is upbeat and possibly surprising, describing the treatment as a catalyst for an "ego death" that liberated her from feeling like a victim of external forces. With newfound clarity, Lauren asserts, "My ego can drive me toward addiction and destruction if I allow it to direct my choices."
Lauren offers hope to others when she reveals how her awakened spirituality dismantles the blueprint of trauma: shame, guilt, rage, despair, and pain. She inspires readers who have faced humanity’s worst with a reminder that there are paths, however circuitous and surprising, to acceptance, forgiveness, and love.
Takeaway: Insightful, poignant story of finding a path to healing after abuse.
Comparable Titles: Louise Hay's You Can Heal Your Life, Sheila Hamilton's All the Things We Never Knew.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A-
Borchert covers much fertile historical ground in this emotional story, surveying the tense French political scene (including fascinating trends like the Incroyables, “foppish dandies who dressed to mock the former aristocracy”) alongside Louis and Geneviève’s intense dedication to their way of life—and each other. The plotting illuminates a complex era that Borchert vividly conjures: when Geneviève is betrayed by a jealous worker for impersonating a man, and imprisoned in an asylum, the couple discover there’s no end to their willingness to sacrifice all in the name of love, even when that means Louis must face the dread of a forced military campaign under that “self-serving war monger,” Bonaparte. That leads to heart-rending choices as he must leave behind a pregnant Geneviève, charged with keeping the vineyard and their close friends safe.
Geneviève is every bit the resolute, strong female lead of the other books in the series, but her pregnancy—and the shock of Louis’s conscription in exchange for her freedom from the asylum—allow her a soft, vulnerable edge. That vulnerability, combined with her belief that restoring the monarchy is France’s only hope, prompts her to dare to attempt acts of espionage herself. Readers of historical fiction with a strong current of love and loss will enjoy watching both Louis and Geneviève fight their own battles in hopes of reuniting—and reunifying their ravaged country.
Takeaway: Sweeping, passionate portrait of the everyday lives in Bonaparte’s France.
Comparable Titles: Penny Haw’s The Woman at the Wheel, Stephanie Dray’s The Women Chateau Lafayette.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
As Chasson argues, there’s a lot not to like about being perfect or regularly trying to be so. The perfectionist’s thinking is often highly inflexible and given to self-doubt about taking action. Perfectionists have a “contradictory relationship” with control, Chasson writes, demonstrating that this trait should not automatically be considered the asset it’s often perceived as. He’s especially persuasive on the fact that there can be a bright side to mistakes—they can enable one to view a situation differently, encourage teamwork and original thinking, empowering an organization to rebound with more efficient solutions. Chasson’s advice is persuasive: embrace principles and be flexible, honest, and gracefully imperfect.
Chasson earns points for tackling a serious, largely underreported condition in plain, direct language, at times with a biting wit and much practical, hard-won guidance and illuminating tools, including his own “Emphasis Framework” crafted for “understanding behavior in a context of effort-value pressures.” Chasson’s prose is as clear as his thinking and approaches are rigorous. His examination of the inner conflict that arises in the ongoing struggle over whether he should or should not fold the household towels employs a simple, everyday example to drive home key points of being true to one’s values vs. the overall good of an organization—in this case his marriage. Many readers will immediately turn to revelatory the chapter about dealing with a perfectionist boss.
Takeaway: Eye-opening guide to the problems of workplace perfectionism and how to face them.
Comparable Titles: Thomas Curran’s The Perfection Trap, Brené Brown’s Imperfect.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
This polished entry in the multi-author Accidentally Undercover series is powered by both romance and suspense as Randall begins to feel a deep attraction to Alonso while trying to understand why separatists are arguing in the school parking lot. The tense, well-described milieu ups the stakes as Randall soon learns that Alonso is a soldier working undercover as a custodian and also the brother of Cecilia’s fiance, whose family owns a winery in Catalonia. As the attraction builds, Randall learns that Alonso is working to identify potential terrorists with connections to the school seeking Catalonian independence. The romance pulses with both levity and intrigue, providing a respite from the danger from those involved in the quest for Catalonian independence while leaving Randall wondering whom he can trust in a country where he is still learning the language.
As the pace intensifies along with the peril to both Alonso and Randall, Randall’s authenticity shines through as he becomes immersed in Catalonian culture, made inviting and fascinating by Merrill, and thrives in his role as a music teacher. Readers will be cheering for Randall to find his happily ever after with Alonso, especially when Randall risks his life for one of his students who was kidnapped, leading to a satisfying conclusion.
Takeaway: A rocker-turned-teacher in Spain gets caught up in romance and tense political unrest.
Comparable Titles: Sarina Bowen’s Roommate, Elle Keaton’s Conspiracy Theory.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
An anthropologist, Richardson persuasively explores the impact that growing up and living in an increasingly “hyper-individualistic” society has on careers, family life, personal happiness, and more. He examines contemporary tendencies toward loneliness, weaker friendships, over-consumption, and the costs of the “freedom to ignore the past.” He does not promise academic rigor, and draws heavily on his own experience of neurodivergence creating challenges in navigating “the confusion and ambiguity” of shifting societal rules. But as he considers telling examples like the rise of potlucks, the decline of formal club membership, and the waning influence of elders on young people, Richardson takes welcome pains to avoid nostalgia, and he acknowledges when he’s generalizing. Richardson’s a shrewd, witty, sometimes outraged observer who urges readers to approach individualistic impulses more critically.
Richardson’s life and anecdotes from interviewees illustrate his most striking arguments, such as the peculiarly American brand of individualism feeding the belief that “failures, traumas, and tragedy (whether failed relationships, getting conned abroad, or old-fashioned physical abuse)” are personal outcomes whose social context “fades into the margins of our moral memory.” The book sprawls some, but the strongest sections—like a consideration of snack culture, the erosion of meal culture, and the rise of obesity—dazzle.
Takeaway: Sprawling, dazzling exploration of the costs of American hyper-individualism.
Comparable Titles: Robert D. Putnam; Peter Callero’s The Myth of Individualism.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
Barnes blends procedural and espionage elements with a vividly evoked London of fog, jouncing hackneys, and churchyards where the gravestones suggest “crooked teeth in the darkness.” A smart setup pits two savvy characters against each other, with a dash of romantic tension: as he strives to look out for his sister Evelyn, Adrian’s targeted by a highly secretive ring of female spies known as The Nightingale Project, with Samantha Carmichael, the star agent, tasked with infiltrating Adrian’s life and securing his family’s secret files.
Barnes maintains a steady clip, deftly combining mystery and romance elements to spin an enticing tale of intrigue, passion, and danger. As Samantha grows closer to Adrian and Evelyn in an effort to win their trust, she uncovers a side of Adrian that sparks a deeper connection between the two, even as they each continue to harbor distrust for each other. Barnes builds to a startling ending that leaves their future hanging in the balance. Readers will be eager for the next in the series.
Takeaway: Intrigue, romance, and murder combine in this lively old London series starter.
Comparable Titles: Nicola Cornick’s House of Shadows, Ellen Marie Wiseman’s What She Left Behind.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Tindle, a Vietnam veteran, is very much at home in the military milieu and rolls out the characters with a strong sense of their background. Fans of military thrillers will revel in the wide range of hardware and high-tech descriptions. And for those who like their violence graphic, Tindle doesn't disappoint: a dead man's head looks "like a watermelon that had been dropped off a ten-story building." Readers may fear that the repellant Silent Mirage is out of control, but Arsen again proves as capable—and morally flexible—as James Bond. Indeed, he refers to himself as a "contract assassin" and goes about proving that the title fits.
Although the focus is on plot and action, Tindle has a good ear for the coarse camaraderie of soldiers, including some macho strutting that is straight out of high school. Nevertheless, an occasional real emotion affects these tough guys. And the love affair between Arsen and Crimson is fun and sexy, rounding out the characters and serving as an effective break between action scenes. Interestingly, though, in this man's man book, the cleverest exchanges are found in the bromance between Arsen and his boss Nils. Overall, a good choice for action fans.
Takeaway: Explosive action as an off-the-books agent infiltrates a domestic hate group.
Comparable Titles: T. R. Hendricks's The Infiltrator, Jack Carr.
Production grades
Cover: B
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: B+
The animal stars in Blythe’s uncomplicated tale deliver a crucial message: fireworks may be fun, but they’re serious business. As Blythe points out in the backmatter, there are “over 10,000 injuries yearly associated with fireworks,” and many of those happen to young children. To promote a dazzling —and safe—4th of July, Ginger and her friends share safety rules on their float, ranging from “older children should use fireworks under close adult supervision” to “never point or throw fireworks at another person.” Each rule is accompanied by bright graphics with warning signs, allowing younger readers a visual representation of fireworks dos and don’ts.
Blythe’s digital illustrations feel bland in places, sometimes static and repetitive, with varying styles for individual characters giving some spreads an inconsistent patchwork look. Younger readers may find the bold colors and individual animals entertaining (particularly Ginger’s squirrel friend, who vows to take an acorn on their walk into town, just in case hunger strikes on the road). The story’s implication—that using fireworks without safety considerations can be deadly—sounds grave but is important, and Ginger’s parade ends in a happy celebration, including a glittering outdoor fireworks display. Blythe’s photograph of the real-life Ginger will delight younger readers, as will the suggestion to use glow sticks or silly string for a safer July 4th option.
Takeaway: Animal friends share dos and don’ts for fireworks safety.
Comparable Titles: Kate Riggs’s To the Rescue!, Jenny Cable’s PJ the Flame.
Production grades
Cover: B+
Design and typography: B
Illustrations: B-
Editing: B
Marketing copy: B
Black Justice: The Awakening
Soon his friend Alicia Johnson, genius CEO of Johnson Industries, presents him with a life-changing offer: a cutting-edge tactical combat suit, complete with weapons, gadgets, and a motorcycle Alicia calls her “black beauty.” Elements of this origin are familiar, of course, but Washington freshens the storytelling with memorable insights. Chris’s discussion with students of the concept of “privilege” is powerful and illuminating, as is Crystal’s outrage that the scant press coverage the missing girls have received invariably links them to street gangs. The tension in the second half isn’t just in whether Chris will win the day—it’s in how far he will go.
Zhengis Tasbolatov’s art is crisp, clear, and compelling, whether characters are engaged in thoughtful colloquies or armed combat. Chris flipping on a rooftop to avoid gunshots is a striking enough image to linger over, but the sense of momentum from one panel to the next makes lingering a challenge—comics fans will be rushing to see what’s next. Washington’s characters may be accomplished, but nothing comes easy for them. Black Justice powerfully centers Black strength and genius, but also hard work, self-knowledge, and taking accountability.
Takeaway: Powerful superhero debut pitting Black Justice against corruption and kidnapping.
Comparable Titles: Devin K. Grayson’s Omni, Saladin Ahmed’s Abbott.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A-
Finding Foxtale Forest: Book One
The diverse cohort of young girls–Danielle, from California; Pax, in Tennessee; Eva in New York; Amy from Texas; Kex from Michigan–find much allure in the promise of adventure. Of young Eva, frustrated by her mother's workaholism on a planned trip to the New York Public Library, Hewitt writes, “It was a beautiful feeling, being invited. To know that she was needed.” Eva is enticed by the promise of time travel and aiding others, and Hewitt deftly gives each participant her own compelling reasons for taking this chance.
With a whoosh and a thump the fun begins, as the fox transports the girls to the forest and then on fun jaunts: first, to a dusty town struggling with drought for years, and after that they join a sea captain determined to amass all the world's treasures. Can the girls observe, collaborate, and determine how to bring these tales to their happy endings? Only by combining their individual skills and working together will they have a chance to fulfill this goal. In frisky, engaging prose that is itself touched with forest magic, Finding Foxtale Forest weaves together themes of friendship, adventure, collaboration, and the power of storytelling, all while creating a delightful and engaging tale of its own.
Takeaway: Fun adventure of girls discovering magic, friendship, and the power of storytelling.
Comparable Titles: Jacqueline West’s Long Lost, Katherine Applegate’s Willodeen.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
The novel is as sprawling and unpredictable as its subject, a mansion with more rooms and curiosities—like its bewildering abundance of cupboards—than Kevin can count. Hints come early about elements that might power the mysteries (a chance encounter with a beautiful woman in China years before; the Swan family’s connection to a cursed ancient knife), but even after Kevin brings some experts in supernatural weirdness, a Caltech prof and a “witch” named Spooky who’s “one fry short of a Happy Meal,” this chatty, discursive novel never resists a joke or charts a straightforward storytelling path. Kevin engages in patter comedy routines with his friends and a pair of unhoused day laborers, and his excursions via Harley, Jaguar, and 1950 Pontiac Chieftain are lovingly detailed.
Readers interested primarily in the mysteries will find the pacing slow, with the comedy clashing with the darker material. When horror elements take center stage (as in scenes of exploration or a setpiece séance) Cooper demonstrates wicked inventiveness and timing. He can spring a jolt, a gross-out, and a surprise.
Takeaway: Sprawling, surprisingly comic novel of a possibly haunted estate.
Comparable Titles: Grady Hendrix’s How to Sell a Haunted House, Edgar Cantero’s The Supernatural Enhancements.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: A-
Whether you’re a brother or mother, the disco-inflected mystery that follows will keep you on your toes as Deana and her dishy, sharply drawn crew face multiple suspects, from scorned lovers and their partners to, well, each other. Kyle is well-known as the philandering husband of the wealthy Jennifer Dixon, co-owner of the Monarch Estates, the swank gated community where the body was discovered. Complicating matters is the fact that a major development is in the works for Monarch, and Kyle’s opinions—and involvement—in the scheme may have put him at risk. Soon enough, more death follows, and as the friends begin to understand the danger they’re in, and local detective Greg O’Neill gets involved. Deana and co. are quick to jump in and offer assistance to O’Neill, along with their retired police officer friend Snooky, as the group works to overcome lies and betrayals.
McKenna brings the milieu, in the shadows of the Blue Ridge Mountains, to engaging life—“this bucolic area certainly does remind one of the goings-on in the English crime shows” Shelly declares—as the story blends sleuthing, suspense, and complicated friendships. A touch of romance is welcome, despite the setting’s decidedly dangerous happenings. This murder mystery is served with a slice of lightheartedness though, as the titular song functions as the story’s theme song, playing every time Cindy’s doorbell rings and offering comic relief, while still reminding the crew of their ultimate goal.
Takeaway: Dishy mystery pitting friends against murder in gated-community Virginia.
Comparable Titles: Ellen Crosby’s The Merlot Murders, Ella Barrick’s Quickstep to Murder.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
