Fanning (author of Ghosted) narrates Kyle’s naïve pursuit of fame and fortune with brisk prose, sharp dialogue, and a strong sense of dark ironies. Misguided Kyle strives to connect with the right people to land a coveted audition and earn an actor’s life of luxury. However his journey takes a sinister turn as he becomes entangled in Dupree and Biedermeier’s web of dominance, manipulation, and murder, with devastating consequences for all involved. The characters are deeply flawed and damaged, each grappling with their own demons and insecurities. Aaron Biedermeier emerges as a monster who wields power without regard for the consequences, while Kyle finds himself drawn to Aaron’s current fiancé, Noah Winters, and into the world of lies and deceit, unable to discern the truth. He struggles to break free of the toxic influence of those around him.
Kyle and his counterparts navigate a landscape fraught with moral ambiguity and ethical compromise. The characters’ illogical choices and repeated gullibility can be painful to read, yet the ways these men are manipulated feels true, underscoring the harsh realities of an industry where appearances often negate integrity. Fanning accomplishes his goal to echo the justice that survivors deserve when abusers walk free and to give voice to the silent and hidden tears.
Takeaway: Brisk, surprising novel of the toll Hollywood demands of ambitious young men.
Comparable Titles: Beth O’Leary; Ella Berman’s The Comeback.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Readers will know, of course, that Barabbas is not the man (or god) to whom Miriam truly is destined. After a ravishing first third set in the temple and alive with tactile, persuasive detail, The Last Magdalene picks up speed, connecting Miriam, a woman of a sect often derided as “harlot”s, to Yeshua bar Yosef, a contender for the role of Mashiach purportedly capable of miracles—who welcomes her but declares “I shall leave no stain of my lust to condemn man to a life of suffering.”
What happens from there provokes and surprises, even as Conrad deftly blends her inventions (detailed in a helpful afterward) with both historical and Gospel records. This depiction of Yeshua is human, with an emphasis on the era’s politics; miracles involving healing and wine are presented with room for skepticism. What’s most arresting here is Conrad’s evocation of beliefs and ceremonies, her challenging of perceptions of women’s roles in ancient life, and the provocative connection Miriam eventually shares with Yeshua, a miracle of its own. The climax jolts due to Conrad’s surprising choice of where to end this first volume in a projected series.
Takeaway: Provocative, sensual vision of the life of Mary Magdalene.
Comparable Titles: Anita Diamant’s The Red Tent, Alice Hoffman’s The Dovekeepers.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A
McCarty captures this chillingly familiar possible future in brisk prose, offering enough striking imagery to suggest a world gone wrong while never weighing the narrative down in minutiae. The story, disturbingly plausible after the events of 2020, intrigues from the first few pages but becomes increasingly urgent: a dying mother arrives on Katherine’s doorstep and thrusts her infant daughter, Ana, upon her, while Louie reluctantly finds himself with unwelcome houseguests, most notably a former police officer named Devlin. These new entrants into Louie’s and Katherine’s carefully controlled worlds lay bare everyone’s fears and flaws, all as the dreams drive Katherine to leave NYC and seek Louie out.
As their story unfolds, these surprising leads learn to hope and fight for the future they had dreamed. Framed among themes of survival, redemption, healing, new beginnings and love in a variety of forms, the characters are caught in loops of their making until they discover their purpose. McCarty’s sharp characterization and vividly imagined catastrophes will leave readers of humane, contemporary apocalypses rooting for life in a sea of relatable loss.
Takeaway: Humane thriller of a pandemic, survival, and unexpected connection.
Comparable Titles: Ling Ma’s Severance, Karen Thompson Walker’s The Dreamers.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
John, an archbishop at the novel’s start, visits his brother’s and father’s graves and reminisces on their surprising pasts. Dominant points of view are the brothers’, but several chapters focus on their father’s and birth mother’s stories, enhancing the theme of a strong family whose love endures many trials. Tocco draws a delightful contrast between the angelic John and James, a hot-headed girl magnet who’s always lovable. Authentic details of Boston and family life infuse the tale with a biographical feel. Humor lies in people’s surprise at learning that a celibate priest is a father. Although interesting, their birth mother’s story interrupts the flow of the protagonists’ journeys, but an excellent plot twist rooted in these tangled backstories rewards readers.
The tension that drives much of the narrative’s first half is a classic case of informant suspense: how John obtains incriminating documents from corrupt associates and his witness-protection experience. Other compelling elements include the mystery of anonymous, annual financial donations that ensure the boys’ education and John’s struggle between love and the priesthood. Tocco effectively delves into the Boston child sexual abuse scandal without explicitness. In The Cardinal and the Crook, Tocco explores family, the Catholic community, and the role of faith in the lives of very different brothers.
Takeaway: Inspirational novel of suspense, family secrets, and Boston over decades.
Comparable Titles: Shawna Coleing’s Hidden Trial, Jeremy Scott’s When the Corn Is Waist High.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: B
McPherson’s impassioned yet professional look at STEM and the challenges facing these young women proves illuminating, occasionally heartbreaking, and ultimately heartening. Explaining the “hidden” curriculum and the “cooling out process” that typically pushes students out of the STEM programs, McPherson illuminates causes and consequences of the field’s lack of diversity, noting that women earned “just under 50% of the 666,157 science and engineering bachelor’s degrees awarded in 2016.” Delving into early exposure to STEM programs in early education, the effects of having diverse teachers and culturally responsive teaching, and specific accommodations to draw in African American students, Dream On provides detailed ways to support and motivate women like McPherson’s subjects.
Through inspiring narratives, McPherson's case studies show the perseverance that success in the field demands. Dream On is not only a well-researched account of these women’s experience but also a rousing call to action, for both African American women and the educational system, offering guidance and encouragement to students and urging greater support from schools, teachers, and more. This is a valuable resource for students entering the STEM field but also for the educators and administrators who they will encounter.
Takeaway: Case studies and rousing guidance for African American women entering the STEM field.
Comparable Titles: T.M. Moody's African American Women Pioneers in STEM, Ebony Omotola McGee's Black, Brown, Bruised.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Holden notes that his opinions may “trigger” some readers, yet the civic engagement and concrete steps he calls for (term limits, reduce the size of government, a return to the gold standard) are much less divisive than much contemporary rhetoric, and he fully supports the separation of church and state and vigorously denounces any impulse toward violence. Holden aims to inspire citizens to serve the country, their communities, and to again feel, in the face of the flag and the national anthem, “a heartfelt swell of pride to one’s chest and mist to the eyes.” He sees this mission in contrast to the “Marxist” impulses behind environmentalism, campaigns to “censor” history, and the efforts of “self-appointed global elites [who] seek to cripple our national and individual sovereignty.”
Citations support some claims, but readers may appreciate a deeper exploration of some of his boldest assertions—is crippling sovereignty really the goal of those “elites”? Instead, this brisk,compact, occasionally repetitive text establishes a moral vision for where he believes the country should go. What shines through every page is this patriot’s commitment to American virtues.
Takeaway: A patriot’s call for a commitment to American virtues and smaller government.
Comparable Titles: Mike Lee’s Our Lost Constitution, Joshua Charles’s Liberty’s Secrets.
Production grades
Cover: A-
Design and typography: A-
Illustrations: N/A
Editing: B
Marketing copy: A-
With direct, inviting prose and much persuasive power, Meier breaks down key issues regarding conservation as he saw them in 1970. He begins with the dangers of chemical weapons and insecticides, despite the claims of military and industrial spokesmen who insisted that neither posed a threat to the public. Smog is another focus, and while that has improved in the U.S. since original publication, air pollution remains a global health risk. (From his 50-years-back vantage point, he predicts electric cars as a potential solution.) Industrial waste, building on lands that should be protected, and the dangers of coal and radiation are also highlighted in potent, clarifying language.
Especially resonant is his argument that, without a public groundswell, the mechanics of American federalism ensure that these life-or-death matters will be in the hands of the states, which—then and now—are especially vulnerable to influential lobbyists who argue that conservation will come at a price that's too high for local industry. Meier's book remains a powerful (and tragically timeless) call to action for citizen conservations to make their voices heard. Meier emphasizes that this is more important now than ever.
Takeaway: Urgent call for conservation and a citizen’s movement, from the first Earth Day.
Comparable Titles: Francois Jarrige and Thomas Le Roux’s The Contamination of the Earth, Benjamin Kline’s First Along the River.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
This fast-paced story from Oshins (author of Lake Barcroft) entertains urgent questions— should a politician striving to do right get a pass for the decisions made in youth? Are civilians fair collateral damage in the name of saving the planet?—and all the interested parties will face hard decisions, right or wrong. The action is swift, perhaps too much so at times, as the momentum and mysteries ensure readers won’t get much background on most characters, especially Lauren, now a Muslim and still plotting destruction, and Deirdre, a devotee of BDSM whose lovers are terrified that the world might find out that they like to be dominated.
These potentially fascinating characters still surprise and engage as Deirdre, learning more about the Oakland Four and efforts to ruin the Senator's campaign, faces opposition at every corner, including adversaries eager to spill her own secrets. Lauren, meanwhile, has plans that are literally explosive, adding sharp suspense. Oshins spins an exciting story alive with tension, jolts, and contemporary political resonance.
Takeaway: Quick-moving thriller of old radicals and contemporary politics.
Comparable Titles: Chris Hauty’s Savage Road, John Gilstrap’s Crimson Phoenix.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: B
Molnar (author of The Secret Life of Sunflowers) deftly blends fiction with history, conjuring the world and spirit of the real Suzanne Valadon, capturing the age, its ethos, and all that women faced when striving to create—and also, with pointed power, the drive to create work that endures. Observing the likes of Claude Monet, Pierre Renoir, and Berthe Morisot, Suzanne self-learns composition, color-mixing techniques, and perspectives. "I will be in a gallery, perhaps even exhibited at the Salon,” Suzanne says. “Maybe someday, I’ll be in a museum." Alternating settings and perspectives, Molnar illustrates a legacy of perseverance, as Ellie discovers that, in the past, Suzanne was as famous as Van Gogh—but history’s “tendency to forget women” has left her work in basements.
While the pacing occasionally is slow, Molnar has crafted an outraged yet rousing examination of women’s perennial struggle for recognition in a male-dominated society—Degas himself, Suzanne notes, “is convinced women can’t be artists.” This insightful, rich-in-detail novel pays welcome homage to women artists of all eras and the time-crossing power of art as Suzanne, in one urgent, illuminating moment, declares, "I want people to hear a whisper when they look at my art. We were here".
Takeaway: Rousing novel of visionary women a century apart entwined by the love of art
Comparable Titles: Sarah Dunant's The Birth of Venus, Paula McLain's The Paris Wife.
Production grades
Cover: A
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A
Cetas draws deeply on the historical record to create her cast and the enthralling challenges they face. At sea, Etienne is kidnapped by a pirate named Jacob Janssen van den Burgh, a figure based on a real pirate, while Abraham’s story is inspired from the story of the Dayton family of Long Island, whose whaling company and relationships with Native Americans prove fascinating. The diverse perspectives of a European family, a native American family, and a mixed-heritage lineage illuminate the complexities of the era without diminishing narrative momentum. While Abraham is learning to accept both his white ancestry and his mother’s Montauk heritage, Alsoomse is growing to understand her place in her tribe.
Much of the book deals with the emotional turmoil of adolescents trying to make sense of life as they experience their own transformation of mind and body. Other themes explored include whaling and the transatlantic slave trade, which is depicted with searing disgust. This briskly paced and engaging novel’s climax will leave history-minded readers yearning for more.
Takeaway: Illuminating, richly researched novel of coming-of-age in the American colonies.
Comparable Titles: Caroline Starr Rose’s Bluebirds, Laurie Halse Anderson’s Seeds of America series.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Moed places Florence at the heart of New York City—their home—and deftly mirrors the gradual erosion of her mother's memory with the incremental disintegration of the fabric of the city she has long known. "I wanted to take a picture,” she writes, “to capture one last portrait of my childhood before it disappeared into thin air." Striking, moving photographs capture fleeting moments in Moed's life in the never-sleeping: vanishing storefronts, the phone lady, passersby, Coney Island, emergency rooms, the ebb and flow of neighborhoods, even the view from under the family’s Steinway baby grand. These captured moments and Moed’s vivid vignettes (that piano’s “place in [Florence’s] world was as permanent as sky or sun or her fingers, which were ferocious and strong until her last breath”) demonstrate the powerful connection between Moed, Florence, the city, and her music.
While deeply personal, It Was Her New York is universally relatable, an elegy that beckons readers to contemplate their own relationships and the ever-changing world. It’s a kaleidoscope of childhood, family, music, and the passage of time. Moed honors Florence’s legacy as a passionate pianist, frugal teacher, fearless lesbian, lover, and mother, fixed in time.
Takeaway: Beautiful, moving memories of a mother, in words and snapshots.
Comparable Titles: Meghan O’Rourke’s The Long Goodbye, Nina Riggs's The Bright Hour.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A
Maverick's is a heartwarming story full of family, community and friendships as everyone rallies around Maverick—even Maverick himself, who through determination to succeed through practice, keeps trying until he achieves success. Throughout this interactive story, the Usufzys (authors of Alex the Goalie and other entries in the Adventures of Alex the Maverick Hockey Player series) encourage reflection and include teachable moments by pausing to ask young readers how they would respond if they were in Maverick's situation or how they would feel if they were in Maverick's shoes. Drawing parallels to practicing something that is a passion or dream, such as hockey, to something that may cause frustration, such as learning to tie your shoes, the authors juxtapose the lessons of allowing others to help with building confidence through effort.
Jason Velazquez’s simple but vivid illustrations emphasize faces and feelings, drawing a compelling contrast between Maverick’s expression of frustration and his subsequent delight at his achievement, an emotion communicated by a wide edge of smile and a jauntily stuck-out tongue. This is an empowering and endearing story of a young boy determined to master a tricky task, imparting its positive message to young readers in a straightforward and constructive manner, touching on matters deeper than skates: it is okay to receive help, to never stop trying, and to pass on the lesson to others in need.
Takeaway: Relatable children's story of a boy determined to learn a new life skill
Comparable Titles: Mac Barnett’s Sam & Dave Dig a Hole, Tom Percival's Ruby's Worry.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A-
Oli’s insecurities get tested in multiple high-intensity battles. Speakes wastes no time setting up the nail-biting action and inviting readers into the unique story world. The virtual game mirrors reality with cityscapes that riff on our own but adds a funky comedic undertone with silly road names (“Fishin’ is Squishin’) and Razer’s unique speech style—the villain calls himself “Big Daddy Razer” and refers to Oli and his friends as “all my brothers from all those cute little fleshy mothers.” Rockets, cyborgs, and drones pose threats as Oli and his friends navigate the simulation, and while some may find the fight sequences a tad repetitive at times, the overall tension and mystery surrounding the AI’s origins keep readers engaged.
While Oli’s bravery helps him learn the valuable lesson of sacrificing for the greater good, his hacker friend Sparky shines bright in the spotlight. Sparky’s intelligence and quick thinking play pivotal roles in saving the day and keeping Oli safe. Her tenacity solidifies her as a strong young female role model many readers will connect with. Within the cautionary tale of putting too much trust in AI, the two develop a tight bond that exemplifies the importance of teamwork and friendship. Young readers interested in video games, AI, and sci-fi will plug into this thrilling adventure.
Takeaway: Thrilling middle grade sci-fi with rogue AI, cyborgs, and memorable characters.
Comparable Titles: James Dashner’s The Eye of Minds, Jason Segel and Kirsten Miller’s Otherworld.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
As in the second volume of the series, Turetsky’s approach is to favor storytelling over punchlines, though the jokes that are here (including some about gamer focus groups) land with a new consistency. When Teddy, the office’s eccentric comic foil, asks Charlie, the new AI, to tell a joke about dinosaurs, Charlie snaps back “I could, but the jokes are extinct.” The depiction of Teddy as an affable fellow whom colleagues celebrate as “a hoot” exemplifies the spirit of Turetsky’s project: rather than make fun of each other, as in other office narratives, his HR crew has fun with each other, while planning ahead, meeting the needs of all stakeholders, and giving OUPM the tools for success. A new recruiter, brought on to hire the VR team, makes sure to pin down the company’s precise needs before starting her search, noting “We cannot just hire people thinking that we need to do some work for an artificial deadline.”
Diverse, driven, and always listening to each other, the HR Data Doodles series demonstrate all that readers may wish companies could be. Turetsky’s vibrant character design, appealing faces, smart workplace dialogue, and insights into what a fully empowered, ready-to-adapt HR team can accomplish all will please readers looking for positive examples of office teams taking on the future.
Takeaway: Inspiring comics of HR pros facing and shaping the future.
Comparable Titles: Karen Beaven’s Strategic Human Resource Management, Thomas H. Davenport and Steven M. Miller’s Working with AI.
Production grades
Cover: A-
Design and typography: A-
Illustrations: A
Editing: A
Marketing copy: A
Abigail chafes at Garrett’s continued overprotective interference in her life and the complications he creates as she plans to salvage her tarnished reputation, but his presence forces her to look at things in a new way. Abigail’s journey of self-discovery has many twists and turns as she struggles to know her mind and follow her heart while still honoring God and her family. Her lack of self-awareness, while occasionally frustrating, lends authenticity to her character. Readers who are patient with the pace of her growth will be rewarded with an inspiring journey towards greater maturity and self-knowledge.
Though Abigail strives to be “grown up” and independent, she must navigate the many restrictive social conventions of the Gilded Age, which affect everything from her forbidden friendship with her maid Rose to the social graces at parties, including those she attends at the wealthy Vanderbilt family’s new Biltmore Mansion (keep an eye out for a charming cameo by the bold Alice Roosevelt, daughter of Theodore). Abigail’s strong Christian values also affect her thoughts and actions, offering crucial touchstones as she struggles with control, guilt, and forgiveness. Readers who enjoy Regency romance will find all its traditional components here, along with deeper, spiritual reflection on love.
Takeaway: Gentle, slow-burn romance with a convincing heroine at a crossroads.
Comparable Titles: Jen Turano’s Behind the Scenes series; M.A. Nichols’s The Kingsleys series.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
“Benjamin” and “Past Life” also explore life, death, and spirit, contemplating the conjuring of deceased souls and children who remember past existences, while other entries, like “Postcards Way Over the Edge,” in which the speaker receives a postcard from her father in heaven, and “Grasping for Faith, a Ballad” which touches on the trinity, grapple with a distinctly Christian faith. In Woodman’s collection, all of these incarnations of the spiritual are valid channels through which people can access the divine, while poetry itself is a spiritual rite that uses language as a conduit for godliness.
Soulscapes is an entry point; not every poem will resonate with the convictions of all readers, but those seeking an open-hearted, spiritual collection with a welcoming attitude will find comfort in Woodman’s verses. “Fifty Senses,” in particular, summarizes the collection’s devotion to plurality in its declaration that humanity’s senses far exceed five. “I believe sensations beyond my limbs,” Woodman writes, “I experience joy of silent // songs in my sleep—unheard shouts within nightmares. // I swim in space,” and each of these extra-sensory experiences is a connection, however small, to the energy of the universe. The key, this searching collection suggests, is to be open to them all.
Takeaway: Spiritually panoramic poems that celebrate myriad ways humanity seeks the divine.
Comparable Titles: Robinson Jeffers’s “The Treasure,” Brenda Hillman’s “Little Furnace”
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A