Penny’s conflict about her future is believable, and readers facing similar choices should find much that is recognizable.

THIS TINY PERFECT WORLD

A summer theater program changes Penny’s expectations for life after high school.

Penny’s grown up in a tiny Florida town, embracing a future that everyone assumes will include inheriting her family’s diner and marrying her high school sweetheart, Logan. Attending a summer theater camp, on scholarship, before her senior year feels more like self-indulgence than career preparation. However, several of Penny’s pre-camp reflections already foreshadow changes on the horizon. First she describes a companionable silence with Logan as “mostly” comfortable and then moments later boldly concludes that her friendships will never change because “we have it all planned out—our futures here. Together.” So it’s not entirely surprising when her more-cosmopolitan theater friends’ dreams of acting in the big cities make Penny’s pre-determined small-town future begin to feel dull. Nevertheless, Penny’s wracked with guilt about viewing the family’s legacy as a burden, and bridging the gulf between Penny’s and Logan’s future expectations bids to be a difficult—and unresolved—feat. Gibaldi sensitively develops Penny’s desire for both independence and the safety net of Logan’s love, although secondary storylines—especially Penny’s father’s new romance—occasionally feel underdeveloped. Penny is depicted on the cover as white, and the lack of racial markers points to a mostly white cast.

Penny’s conflict about her future is believable, and readers facing similar choices should find much that is recognizable. (Fiction. 12-18)

Pub Date: Feb. 27, 2018

ISBN: 978-0-06-249007-0

Page Count: 304

Publisher: HarperTeen

Review Posted Online: Oct. 16, 2017

Kirkus Reviews Issue: Nov. 1, 2017

Did you like this book?

No Comments Yet

Engrossing, contemplative, and as heart-wrenching as the title promises.

Reader Votes

  • Readers Vote
  • 36

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2017

  • New York Times Bestseller

  • IndieBound Bestseller

THEY BOTH DIE AT THE END

What would you do with one day left to live?

In an alternate present, a company named Death-Cast calls Deckers—people who will die within the coming day—to inform them of their impending deaths, though not how they will happen. The End Day call comes for two teenagers living in New York City: Puerto Rican Mateo and bisexual Cuban-American foster kid Rufus. Rufus needs company after a violent act puts cops on his tail and lands his friends in jail; Mateo wants someone to push him past his comfort zone after a lifetime of playing it safe. The two meet through Last Friend, an app that connects lonely Deckers (one of many ways in which Death-Cast influences social media). Mateo and Rufus set out to seize the day together in their final hours, during which their deepening friendship blossoms into something more. Present-tense chapters, short and time-stamped, primarily feature the protagonists’ distinctive first-person narrations. Fleeting third-person chapters give windows into the lives of other characters they encounter, underscoring how even a tiny action can change the course of someone else’s life. It’s another standout from Silvera (History Is All You Left Me, 2017, etc.), who here grapples gracefully with heavy questions about death and the meaning of a life well-lived.

Engrossing, contemplative, and as heart-wrenching as the title promises. (Speculative fiction. 13-adult).

Pub Date: Sept. 5, 2017

ISBN: 978-0-06-245779-0

Page Count: 384

Publisher: HarperTeen

Review Posted Online: June 5, 2017

Kirkus Reviews Issue: June 15, 2017

Did you like this book?

This grittily provocative debut explores the horrors of self-harm and the healing power of artistic expression.

Reader Votes

  • Readers Vote
  • 17

Our Verdict

  • Our Verdict
  • GET IT

  • New York Times Bestseller

GIRL IN PIECES

After surviving a suicide attempt, a fragile teen isn't sure she can endure without cutting herself.

Seventeen-year-old Charlie Davis, a white girl living on the margins, thinks she has little reason to live: her father drowned himself; her bereft and abusive mother kicked her out; her best friend, Ellis, is nearly brain dead after cutting too deeply; and she's gone through unspeakable experiences living on the street. After spending time in treatment with other young women like her—who cut, burn, poke, and otherwise hurt themselves—Charlie is released and takes a bus from the Twin Cities to Tucson to be closer to Mikey, a boy she "like-likes" but who had pined for Ellis instead. But things don't go as planned in the Arizona desert, because sweet Mikey just wants to be friends. Feeling rejected, Charlie, an artist, is drawn into a destructive new relationship with her sexy older co-worker, a "semifamous" local musician who's obviously a junkie alcoholic. Through intense, diarylike chapters chronicling Charlie's journey, the author captures the brutal and heartbreaking way "girls who write their pain on their bodies" scar and mar themselves, either succumbing or surviving. Like most issue books, this is not an easy read, but it's poignant and transcendent as Charlie breaks more and more before piecing herself back together.

This grittily provocative debut explores the horrors of self-harm and the healing power of artistic expression. (author’s note) (Fiction. 14 & up)

Pub Date: Aug. 30, 2016

ISBN: 978-1-101-93471-5

Page Count: 416

Publisher: Delacorte

Review Posted Online: May 4, 2016

Kirkus Reviews Issue: May 15, 2016

Did you like this book?

more