TREE BY LEAF

In a spiritual companion to The Runner, Clothilde—another child with an angry, paternalistic heritage—emerges from a traumatic summer with the strength and resolve to go on to a productive life. When Father went off to WW I, his tyrannical Boston Brahmin father refused to support Mother (scorned as a Catholic orphan) and the children; now Father has returned with a cruelly scarred face and is living hidden in the boathouse on the Maine peninsula that Clothilde has inherited. Mother, who has competently managed the nearby farmhouse for four years, reverts to the ladylike behavior she erroneously believes Father requires, and says that Clothilde's land must be sold to support the family and that Clothilde must do the housework. In an agony of helpless frustration, Clothilde hears a Voice—a hallucination precipitated by the intolerable situation, or by God. "Why do you make wars?" she asks. The Voice replies, ". . .men do," and inquires, "What would you mend?" She requests gifts for others, including healing for Father, and her wishes are granted—but not as she envisions; yet the ensuing tragedies, by their own inexorable logic, lead to healing and the understanding that things that are to grow cannot be controlled. Clothilde's powerful vision is wiser than even an extraordinarily perceptive child of 12 (which she is) could generate; but as the crux of this complex, beautifully structured novel, it serves its purpose well. Not an easy book nor one destined to be popular, but surely rewarding for thoughtful readers.

Pub Date: March 1, 1988

ISBN: 0689835272

Page Count: 262

Publisher: Atheneum

Review Posted Online: Oct. 27, 2011

Kirkus Reviews Issue: Feb. 15, 1988

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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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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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