Fiercely charming and achingly relatable—a glorious, empowering touchdown.

LIKE OTHER GIRLS

Closeted Mara Deeble, who’s always been one of the guys, confronts her own internalized misogyny after she joins her high school’s football team and four other girls follow suit.

In rural Elkhorn, Oregon, life revolves around ranching, church, and sports—but Mara’s aggression got her kicked off the basketball team last winter, and Coach Joyce won’t let her rejoin without proof that she can play a team sport without fighting. She’s certainly not trying to make a feminist statement when she joins her quarterback brother on the football team, but after her intense, out-and-proud lesbian archnemesis, Carly Nakata; her gorgeous, tomboyish crush, Valentina Cortez; and two more girls join too, claiming Mara inspired them, everyone’s talking about gender—and holding Mara to standards she’s uninterested in meeting. Mara is refreshingly, authentically imperfect: judgmental, impulsive, and terrified of being vulnerable yet desperate to be understood. While the Elkhorn Five face open resentment and harassment from the male players, it’s Mara’s mother’s perplexed disappointment that’s especially piercing. Thankfully, Mara finds a kindred spirit in Jupiter, an unapologetically butch farmer who is new to town and whose presence feels like “a nice long exhale.” Jupiter offers Mara—and readers—new perspectives on gender presentation and sexuality. Most characters appear White; several are cued as Latinx, and Carly is biracial (Asian/White). Readers need not like (or understand) football to wholeheartedly cheer for the Elkhorn Five.

Fiercely charming and achingly relatable—a glorious, empowering touchdown. (Fiction. 12-18)

Pub Date: Aug. 3, 2021

ISBN: 978-1-368-03992-5

Page Count: 384

Publisher: Freeform/Disney

Review Posted Online: May 27, 2021

Kirkus Reviews Issue: June 15, 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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