An unusual title useful for college classrooms or as a niche gift.

THE TRUE STORY OF A MOUSE WHO NEVER ASKED FOR IT

A traditional folktale is reworked into a feminist parable.

In this translated work from Spain, Herreros tells the story of a “very neat and very hardworking” white mouse who builds herself a house. Seeing that she is unmarried and a homeowner, various animals aggressively pursue her until she finally agrees to marry the kitten, who “seemed the most defenseless.” Her kitten-husband becomes increasingly predatory, emotionally and physically abusing her until, finally, “he ate her all up.” A powerful wordless finale of double-page, full-bleed spreads shows a brown-skinned, black-haired woman in a white dress cleaning up and moving on from the aftermath of a violent disturbance in her apartment. Deceptively simple, midcentury-style illustrations use a muted color palette of red, blue, gray, beige, white, and black to focus on the details of domestic objects before widening the lens to the bigger picture. A QR code allows readers to visit a website where they may read the Balearic original and some contextual notes. Without gaining this familiarity with the source material and its cultural connotations, readers may be confused or frustrated by the book’s metaphor, including unpacking what it means to ask for it, the text’s emphasis on the protagonist’s virtuous cleanliness and tidiness, and the choice to illustrate the mouse as paper-white, which risks perpetuating whiteness as a symbol of purity and goodness.

An unusual title useful for college classrooms or as a niche gift. (Picture book. 16-adult)

Pub Date: June 22, 2021

ISBN: 978-1-59270-320-3

Page Count: 108

Publisher: Unruly

Review Posted Online: May 17, 2021

Kirkus Reviews Issue: June 1, 2021

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

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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

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Riveting, brutal and beautifully told.

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WE WERE LIARS

A devastating tale of greed and secrets springs from the summer that tore Cady’s life apart.

Cady Sinclair’s family uses its inherited wealth to ensure that each successive generation is blond, beautiful and powerful. Reunited each summer by the family patriarch on his private island, his three adult daughters and various grandchildren lead charmed, fairy-tale lives (an idea reinforced by the periodic inclusions of Cady’s reworkings of fairy tales to tell the Sinclair family story). But this is no sanitized, modern Disney fairy tale; this is Cinderella with her stepsisters’ slashed heels in bloody glass slippers. Cady’s fairy-tale retellings are dark, as is the personal tragedy that has led to her examination of the skeletons in the Sinclair castle’s closets; its rent turns out to be extracted in personal sacrifices. Brilliantly, Lockhart resists simply crucifying the Sinclairs, which might make the family’s foreshadowed tragedy predictable or even satisfying. Instead, she humanizes them (and their painful contradictions) by including nostalgic images that showcase the love shared among Cady, her two cousins closest in age, and Gat, the Heathcliff-esque figure she has always loved. Though increasingly disenchanted with the Sinclair legacy of self-absorption, the four believe family redemption is possible—if they have the courage to act. Their sincere hopes and foolish naïveté make the teens’ desperate, grand gesture all that much more tragic.

Riveting, brutal and beautifully told. (Fiction. 14 & up)

Pub Date: May 13, 2014

ISBN: 978-0-385-74126-2

Page Count: 240

Publisher: Delacorte

Review Posted Online: March 17, 2014

Kirkus Reviews Issue: April 1, 2014

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