Alice Cary

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Godfather Death is a lively retelling of a Grimm fairy tale about a poor fisherman looking for a godfather for his newborn son. The fisherman rejects God’s offer because he doesn’t feel God treats people fairly, especially since the fisherman and his family live in such poverty. He is smart enough to also reject the devil’s offer—but when Death comes along, he believes he has finally found an honest man. After the christening, Death lets the fisherman in on a scheme that makes him a rich man, but ultimately backfires in a tragic way.

As the fisherman’s captivating quest unfolds, Sally Nicholls weaves in plenty of humor: Christening guests stare at Death—a skeleton with his silver scythe and long black cloak—as “everyone tried very hard to be polite to the baby’s godfather.” When this skeleton figure eats food, “everyone wondered where it went.” 

Julia Sarda illustrates the tale in a limited palette of orange, mustard yellow, dark green and black, imbuing the book with an intriguing, stylized vibe reminiscent of old fairy tales. Her eye-catching illustrations will help readers understand that this is a tale meant to impart wisdom. Note that, like the original, the ending is abrupt and not at all happy. Nonetheless, Godfather Death is a memorable story that’s bound to encourage interesting discussions about life, death and honesty. 

 

Based on a Grimm fairy tale, Godfather Death is a memorable story that’s bound to encourage interesting discussions about life, death and honesty.
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“The air was still cold as I readied myself to begin another morning in my paper suit.” Those words come from Rita Todacheene as she narrates Exposure, Ramona Emerson’s second book in her projected trilogy of mysteries starring the Navajo forensic photographer. The first, Shutter, was longlisted for the National Book Award, and from the very first page, Exposure is equally—if not more—electrifying than the first, allowing both fans and newcomers to jump right in.

It’s winter in Albuquerque, New Mexico, and Emerson uses the season to great effect, with shivering investigators and frozen bodies, which the double entendre of her perfect title nods to. Rita has been summoned to a particularly brutal crime scene, where a retired police detective, his wife and six of their seven children have been murdered, with the oldest son being questioned as a suspect. Earlier in the night, she had been awakened by the ghost of one of the dead, a little girl who announces, “We’re waiting for you.” It’s a chilling, explosive start, and this unsettling young voice gives Rita surprising insights into the murders.

For Ramona Emerson, humanizing the victims of violent crimes is more than just a profession: It’s a calling.

Be forewarned: Emerson’s crime scenes are viscerally authentic—she worked as a forensic photographer herself—although Rita’s empathy and compassion are always at the forefront, and there’s even occasional humor to be found from the ghosts. As in Shutter, Rita’s paranormal gifts continue to not only aid her police work, but also help her unmask often uncomfortable truths, including police corruption. However, the long hours, unbearable sights, endless voices are pushing Rita over the edge. She laments, “The dead were everywhere, and I couldn’t unsee them. Their souls gathered inside me.” Rita also faces big life changes: Someone she loves dies, and an intriguing new character appears. Rita’s beloved grandmother and a medicine man, Mr. Bitsilly, soon come to her aid. As Mr. Bitsilly realizes, “Something has her soul in its grasp. It could be one thing or a lot of things, but it will kill her if we let it stay.”

Emerson, a Diné writer and filmmaker who hails from Rita’s own hometown of Tohatchi in the Navajo Nation, masterfully commands these tightly wound plot strands, varying the tension and pacing with comforting moments with Rita’s beloved elderly neighbor, Mrs. Santillanes. Lots of lives—and souls—are on the line in the evocative Exposure, and Emerson adroitly takes on a variety of weighty themes. Rita Todacheene is a gritty, believable character with a heart that is equal parts steel and soul. Readers will immediately be clamoring for more.

Exposure is equally—if not more—electrifying than Ramona Emerson’s debut, the National Book Award-longlisted Shutter.
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If you’re in the mood for some spine-tingling stories, cozy up to Djinnology: An Illuminated Compendium of Spirits and Stories From the Muslim World, a fictitious (or is it?) compendium that is both fascinating and creepy, and made all the more so by Pulitzer Prize-winner Fahmida Azim’s striking illustrations. 

Seema Yasmin, a journalist, professor and physician, has created a fictional narrator named Dr. N, a taxonomist and ontologist who has traveled the world to investigate the sometimes benevolent, sometimes malevolent djinn. Djinn, Dr. N writes, have been “haunting humanity since pre-Islamic times.” They are “shape-shifting beasts who grant wishes, inspire poetry, and snatch away innocent children.” “To the world’s nearly two billion human Muslims,” he writes, “djinn are as real as tax returns and as frightening and captivating as an electrical storm.” 

He submits the fruits of his research to his academic committee, apparently to explain his long and unexplained absence from class, in this volume of stories from around the world that capture the long history and great variety of djinn. Many of these stories are related to human events, such as one concerning a ghostlike horseman who allegedly appeared in Cairo’s Tahrir Square at the height of the Arab Spring. Another terrifying tale of more dubious origins takes place in London, when a woman delivering her husband’s specimen to an IVF clinic spots what she thinks is an abandoned baby in the middle of the road. She stops, of course, but things do not go as she expects.

Djinnology is beautifully designed, with maps, English and Arabic inscriptions and more, gamely selling a high-octane, between-two-worlds vibe. Most of all, Azim’s haunting illustrations in smoky colors perfectly portray this menagerie of spirits. Readers will find themselves looking over their shoulders.

 

In the vibrantly illustrated Djinnology, a fictional scientist travels the world to learn about sometimes malevolent, sometimes benevolent spirits of Muslim folklore.
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Sid Sharp’s picture book Bog Myrtle starts as an intriguing fairy tale about two very different sisters: eternally optimistic Beatrice and forever grumpy Magnolia, who live “alone in a hideous, drafty old house” and “are so poor that they ate rats for breakfast and cockroaches for lunch.”

The action starts when Beatrice decides to make a sweater for Magnolia, who gripes about being cold. Since they have no money, Beatrice, who loves nature and crafts, heads to the forest to look for helpful treasures, and eventually encounters a monster named Bog Myrtle. Surprising things happen every step of the way, and Sharp’s sense of humor shines through—for instance, with a knitting store called “Knot in My Back Yarn.” 

Bog Myrtle offers Beatrice magic silk, which allows her to knit a truly splendid gift for Magnolia—who immediately sees potential for profit. As Magnolia launches a magic sweater business that becomes increasingly exploitative, Sharp transforms the tale into a sophisticated, humorous fable about sustainability, corporate greed and workers’ rights. Sharp manages to integrate these themes so seamlessly that they never feel strident; readers will simply find themselves cheering when the good guys beat the villain. 

Bold, contrasting colors imbue Sharp’s eye-catching illustrations with a modern, energetic vibe. Bog Myrtle offers a fun-filled yet serious look at sustainability and corporate accountability. Who would have even thought that possible? Sharp’s wizardry makes it happen. 

 

Who would have thought it possible to create an entertaining children's story about sustainability and corporate accountability? Sid Sharp's fun-filled fable, Bog Myrtle, is just that.
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“I don’t think people realize how many librarians are being attacked,” Amanda Jones says from her home in Watson, Louisiana. “I used to think it was just a Southern thing. But I have friends in New Hampshire, New Jersey, Maine, California and New York who have experienced this.”

Jones, the author of That Librarian: The Fight Against Book Banning in America, seems an unlikely candidate to be caught in the crosshairs of a culture war. She grew up in a conservative Christian household in the deep red state of Louisiana. She lives in the same two-stoplight town where she grew up, right next door to her parents and her childhood home, and she works as a school librarian just a few miles down the road, in the middle school she once attended.

Her life changed on July 19, 2022, when she attended a board meeting at Livingston parish’s public library. Book content was on the agenda, which sent alarm bells ringing for Jones, who had been following censorship news across the country and in her parish. These conversations, she knew, “almost always targeted LGBTQIA+ stories.” Jones has taught queer kids who later took their own lives. “I’ll be damned if I’m going to stand in silence while we lose another kid because of something our community has done to make them feel less,” she writes. At the meeting, one library board member, Erin Sandefur, made objections to some young adult and children’s content, although, as Jones writes, “She never really articulated what her concern was, just that there was a concern to be had.”

“If people are going to label me an activist, I might as well act like one and show them what I’m made of.”

Jones, who was a 2021 School Library Journal National Librarian of the Year, was the first of about 30 to counter those concerns and speak up against censorship of queer stories, reciting a speech she wrote beforehand that included the words,“All members of our community deserve to be seen, have access to information, and see themselves, in our PUBLIC library collection.” Her speech was so on point, in fact, that she later received an email singing its praises from none other than Terry Szuplat, one of former President Barack Obama’s longest-serving speechwriters.

But her high didn’t last. Four days after the board meeting, Jones opened an email that said, “Amanda, you are indoctrinating our children with perversion + pedophilia grooming. Your evil agenda is getting print + national coverage. . . . We know where you work + live. . . . you have a LARGE target on your back. Click, click . . . see you soon. . .” Jones’ heart began pounding; she was completely in shock.

Book jacket image for That Librarian by Amanda Jones

Then, her phone blew up with texts from friends and family sharing two Facebook posts: The group Citizens for a New Louisiana posted a photo of her making her speech at the board meeting, the caption accusing her of fighting to include “sexually erotic and pornographic materials” in libraries. Another post by local man Ryan Thames shared a photo from her professional website and accused her of “advocating teaching anal sex to 11-year-olds.”

The posts caught on like wildfire as people from her own community shared them on multiple platforms. Then they went national. Users “embraced comments laced with hate, and grew wild with speculation”: they called her a groomer and a pedophile and threatened violence. “I had worked so hard to build up a good reputation for myself,” she recalls. “It was so surreal, to go from such a community high, where you’re kind of beloved, and then in an instant, they’re like, ‘Oh, she’s that awful person.’” The posts, comments and threats kept coming.

Jones lived in a constant state of terror; she got a taser, pepper spray and security cameras. She slept with a gun under her bed. Word of the controversy began to spread, and before long, journalists took notice. One day Jones saw her face in the NBC news app. “This is really happening,” she writes of her thinking. “I’m an actual national news headline.”

She began thinking of her tormentors in Harry Potter terms, as her dementors. Channeling her inner Nancy Drew, Jones discovered that she was far from their only target. Her investigations revealed correlations between their outlandish online posts about libraries and librarians and various far-right campaign contributions. One of the ringleaders, she explains, is a leader of a dark money nonprofit. “I think he’s paid to do that. That’s his job: to stir up nonsense for politicians.”

The slanderous accusations are ongoing, at both a local and national level, many trumpeted by the group Moms for Liberty. Jones has suffered mental and physical repercussions, including panic attacks and hair loss, and ultimately took a semester’s leave of absence from her job to recover. “Even to this day,” she says, “if I get an email and I don’t know who is sending it, my heart starts racing, and that causes my adrenaline to spike.”

She eventually channeled her favorite childhood author, asking herself, “What would Judy Blume do?” The answer, she realized, was to fight back. She took her dementors to court. The judge ultimately ruled that they could get away with their disinformation attack because she was a “public figure.” Nonetheless, as Jones writes, “These people set out to destroy me, but they woke something up inside me that I hope never dies. The court labeled me a public figure and their lawyers called me an activist when I was just a school librarian. I figure, if people are going to label me an activist, I might as well act like one and show them what I’m made of—grit and perseverance.”

Read our review of ‘That Librarian’ by Amanda Jones

Jones has long known that perseverance pays off: She had originally planned to become an elementary school teacher, like her mother, but during her third year of college, reading the first three Harry Potter books steered her in a different direction, reminding her how much she loved reading. She began taking library science graduate courses, graduating in 2001 as a certified teacher and school librarian. Coincidentally, the librarian at her hometown middle school was taking a year’s sabbatical, so Jones filled in. When the librarian returned, Jones took a job as an English language arts teacher, knowing she wanted to stay at her beloved school. Eventually (14 years later!), when the librarian retired, Jones claimed her dream position.

As traumatizing as the online attacks have been, Jones has also received a tremendous amount of support, often from former students. She’s received well wishes from legions of people she doesn’t know, including numerous authors. She had the word “moxie” tattooed on her left wrist after Newbery Award winner Erin Entrada Kelly applauded her efforts, tweeting, “This is moxie. Sending my love and support to you, Amanda. I’m so proud you’re from my home state.” A few people, however, disappointed Jones, including some colleagues and several people she thought were her friends. But her family has provided constant support, and her conservative mother has accompanied her to library board meetings. After one meeting, during which a trans woman spoke about how books had saved her life, Jones’ mother commented, “You know, I think books can save lives.” “I’m like, ‘Mom,’” Jones recalls, “‘I’ve been telling you this for years.’”

“I hope I’m always evolving and learning,” Jones says. “The biggest struggle is wanting to defend myself publicly. Like when a lady told me a couple of weeks ago at a library board meeting that I needed to read Romans, I just said, ‘Ma’am, I’ve read the Bible twice. Thank you.’ You can’t argue with them. It’s pointless.”

There have been some glimmers of joy. She gets giddy about technical stuff, like seeing the copyright in her book. Jones says, “Not even in my wildest dreams did I ever think I would have my own ISBN in my own book, you know?”

“It’s odd to me,” she muses, “how big of a voice I had. It shows me that anybody can make a wave. I heard author Kekla Magoon say at a conference last year in New Hampshire that we’re like raindrops. If it’s just one, you might not notice it. But when we all collectively start falling, people start to listen. I’m hoping that by speaking out and writing this book that other people will speak up, and then more people will start to listen, and people will wake up to what’s happening to our libraries before it’s too late, before they’re all destroyed.”

Photo of Amanda Jones © Kathryn and Traveis Photography.

 

Middle school librarian Amanda Jones spoke out against book banning. Then the trolls descended.
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The Zebra’s Great Escape is a delightful, action-filled saga packed into picture book format—which its creators use to their full advantage. Katherine Rundell’s text brims with heart and humorous details, while Sara Ogilvie’s illustrations feature explosions of color that nicely contrast with the black-and-white zebras at the center of this adventure. 

An exuberant girl nicknamed Mink befriends a zebra who suddenly appears one day. “Mink was not usually gentle,” Rundell writes. “She liked doing things fast and wild. But it was with all the gentleness in the world that she reached out and laid a hand on the zebra’s fur.” The zebra, Gabriel, communicates through swirling streams of color, and explains that he needs help finding his parents, who have been kidnapped by an evil “Collector” named Mr. Spit.

Mink discovers that she can also communicate via color with her elderly pet dog, Rainbow (aptly named). He is loath to help “the barcode-horse,” but Mink begs, noting, “Daddy says, when people ask you for help, they’re actually doing a magnificent thing—they’re giving you the chance to change the world for the better!” Rainbow is persuaded, with the help of a small bribe, to send a message to all the animals in the city, and off our heroes go, to confront the evil Collector and free an entire alphabet of animals in dire straits. 

The picture book combines an appealing old-fashioned feel with modern flair, in moments such as when oblivious adults, busy staring at their phones, don’t notice a girl riding a galloping zebra through the streets. Ogilvie’s lively illustrations bring Rundell’s delicious prose to life. Mink is so full of zest that she practically leaps off the page, while the dastardly Mr. Spit resembles Captain Hook with his long, thin mustache, jutting chin and fancy attire. The color orange pervades the book—in Gabriel’s fiery communications, in Mink’s polka-dotted shirt, in the burning rage that surrounds the evil Mr. Spit. It’s nicely offset by numerous pages bathed in blue: cozy bedtime scenes, the animals running to freedom and spirited celebrations at the end.

Don’t miss The Zebra’s Great Escape, a kaleidoscopic celebration of communication and the rewards of helping one another. 

Sara Ogilvie’s lively illustrations bring the spirit of Katherine Rundell’s delicious prose to life in The Zebra’s Great Escape, which features a protagonist so full of zest that she practically leaps off the page.
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“I didn’t know anything about Gustav Klimt except that he liked naked ladies,” notes Billy Boyle, the narrator of The Phantom Patrol, the 19th entry in James R. Benn’s series of action-packed World War II mysteries. Billy has become involved with efforts to return the priceless sketch, a study for Klimt’s painting Water Serpents II, to its rightful owner after it was appropriated from a Jewish family in Vienna. 

Billy, a former Boston cop, is a detective on the staff of his “Uncle Ike”—none other than the famed General Eisenhower. Billy’s “older cousin of some sort” makes a brief appearance, commenting, “even a fella from Abilene can appreciate fine artwork.” (Newcomers to the series can easily jump in; Benn succinctly fills readers in with relevant bits of backstory.) Billy’s also trying to track down a violent network of Nazi art smugglers, and it turns out even bigger trouble is brewing: It’s the winter of 1944 and France has been liberated, so these thugs have little to lose. Just a few pages in, the bullets start to fly and the bodies begin to fall in Paris’ Pere Lachaise Cemetery. Billy eventually finds himself in Belgium’s Ardennes Forest in the midst of the Battle of the Bulge, traipsing through snow and cut off from communications. 

Benn excels at making history work in his favor. For instance, he includes J.D. Salinger and actor David Niven as fairly major characters—both of whom did indeed serve during WWII. Benn nimbly traverses between moments of absolute horror (the scene of a murdered family at their farmhouse, and the massacre of American GIs) to numerous lighthearted moments, understanding how desperately they were needed for those who endured war’s horrors. Niven, for instance, comments about a German posing as an American: “I should have known . . . The chap never asked for an autograph.” 

Fans of The Monuments Men and The Curse of Pietro Houdini will relish The Phantom Patrol, and newcomers to Billy Boyle’s investigations will be immediately intrigued and ready for more. The book’s art-related plot will appeal to a wide variety of readers, as will Benn’s snappy but detail-rich prose. History buffs, military enthusiasts, art lovers and thrill-seekers alike will all be enthralled with this enticing blend of high-stakes action and old-fashioned detective work.

Billy Boyle breaks up a Nazi art smuggling ring in James R. Benn’s enthralling The Phantom Patrol, which will delight history buffs, art lovers and thrill-seekers alike.
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At one point near the end of Caroline Woods’ lively historical thriller, The Mesmerist, a truly clueless, chauvinistic detective working a murder case announces, “I hardly need the advice of a couple of nosy old crones.” Unbeknownst to him, however, the women he has insulted have already solved the puzzle, and are busy meting out their own form of justice. Set in Minneapolis in 1894, the novel offers a Dickensian plot and cast of characters, prose rife with Victorian details and atmosphere, and even a ghost story, as it exposes the lack of autonomy many women dealt with during the era.

As in her previous novels, The Lunar Housewife (about CIA intervention in 1950s arts and letters) and Fraulein M. (set in 1930s Berlin), Woods transforms real-life aspects of history into an intricately plotted mystery. Her well-drawn, intriguing setting is the Bethany Home for Unwed Mothers, which Woods notes in her author’s note was “surprisingly progressive for its time, respectful and relatively compassionate toward not only unwed mothers, but also madams and ‘sporting women.’ ” Several of these real women appear as characters alongside Woods’ fictitious young residents who live in the institution.

Among the fictional heroines is May, a 24-year-old who is trying to chisel a respectable life for herself while her child is being raised by her brother and sister-in-law in Chicago. May becomes roommates with a new arrival at Bethany House, a mysterious, seemingly mute, pregnant young woman who goes by the name of Faith. The other residents fear that Faith is a mesmerist— someone able to hypnotize others—an ability that was much discussed at the time given the en vogue spiritualism movement. 

Faith and May gradually form an alliance, only to discover a dangerous web of lies surrounding both Faith’s origins and, increasingly, Bethany House itself. As May delves deeper, this amateur detective finds herself in the midst of plenty of action, including stranglings, gunfire and dripping blood.

Woods nicely develops relationships among her characters while ably illustrating the plight of Bethany House’s inhabitants. The Mesmerist does an admirable job of transforming history into mystery, championing the rights of women and illustrating how many of these same battles continue to be fought today.

Caroline Woods exposes the plight of Victorian women and transforms history into an intricately plotted mystery in The Mesmerist.
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There Amanda Jones was, living in her hometown of Watson, Louisiana, working as a middle school librarian in the school she once attended—an unremarkable and happy life. Then, everything changed. On a mid-July evening in 2022, Jones gave a short, powerful speech against censorship at her local public library’s board meeting. Four days later, she woke up to an email that included a death threat and accused her of “pedophilia grooming.” That frightening message signified the start of an ongoing social media campaign to destroy her reputation.

Jones was shaken to her core; she slept with a gun under her bed and took a semester’s sabbatical to deal with the turmoil. “What kind of world are we living in that has some of our most devoted community servants living so terrified?” Jones asks in her heartfelt memoir, That Librarian: The Fight Against Book Banning in America. Along with conveying the sudden terror of her ordeal, Jones shares the urge she felt to strike back. A few days after receiving the email, as she watched a cascade of social media posts and comments assassinate her character, she “wanted to karate chop those responsible in the throat. I don’t think words can adequately express the burning rage I felt.”

Read our interview with Amanda Jones, author of ‘That Librarian.’

Jones is a compelling narrator with a nearly unbelievable story that is a parable for our divided times. In this nightmarish tale of a small-town battle gone viral, she shows immense courage by standing up to her tormentors and refusing to be silenced. Despite her fury, she channeled her emotions into positive action, researching the politics, corruption and financing behind the attacks.

Librarians and readers will especially appreciate the story of her educational journey over the years as they’ll see firsthand how important representation and diversity are in library collections, and what lifesavers such books can provide to patrons of all ages and backgrounds. For all who value books, libraries and the freedom of information, That Librarian is an empowering, triumphant tale.

 

Librarian Amanda Jones recounts her battle to overcome book-banning extremists in her empowering memoir, That Librarian.
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Reading Still Life makes one immediately wish for children to share it with, since this book is guaranteed to have them shouting in glee, their exclamations growing louder with every turn of the page. At the same time, because readers must pay careful attention to the visual details on each page, enjoying the book is a wonderful exercise in observation, memory and anticipation. 

The fun is not surprising, given that author Alex London has written over 30 books for children and teens. In Still Life, the focus is on a curly-haired artist intent on explaining the concept of still life paintings—especially how predictable they are. “This is a still life,” he begins. “It is a painting of objects sitting still. In a still life, nothing moves.” He stands beside a rather baroque work in progress depicting a strange collection including items like a dollhouse, jam, paper and a flickering candle. 

Caldecott Medalist Paul O. Zelinsky carefully delineates between the painting, which is laden with colorful, intricate details, and the artist’s real world, which is composed of much starker, quicker sketches. This delineation helps readers differentiate between art and “reality” in this delightfully meta picture book. The first sign of trouble appears when a pair of mice climb up the artist’s (real) table, eventually scurrying into the painting and getting into the (painted) jam. Soon a princess, dragon and a knight appear in the painting, prompting the artist to declare, “Dragons? No, nothing like that in this sort of painting. There are no creatures to ruin the tablecloth or stomp through the strawberries. None whatsoever!” Kids will relish the oodles of activity taking place right under the artist’s oblivious nose, especially when he announces, “If you see a note in a still-life painting, please do not read it.” Still Life provides a fabulous, subtle way to teach children they shouldn’t always believe everything they hear, no matter how earnest the proclaimer may be.

London and Zelinsky have fun turning expectations upside down, such as when the princess saves the dragon from the troublesome knight. Still Life is a hilarious hoot, and readers will likely never look at a still life in quite the same way. 

Still Life is a hilarious hoot, and readers will likely never look at a still life painting in quite the same way.
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“Scotland Yard has been called in.” Those authoritative words imply the renowned reputation of the London Metropolitan Police, first established in 1829 as the world’s first professional, centrally organized police department. The name, in case you were wondering, comes from the fact that its headquarters were built on a piece of land facing a small street called Great Scotland Yard.

Simon Read eloquently explains the force’s long-standing allure in his hard-to-put-down history, Scotland Yard: A History of the London Police Force’s Most Infamous Murder Cases. “It’s something woven into our cultural fabric,” Read writes, “a conduit between history and pop culture. We can trace today’s true crime obsession, in large part, to the Yard’s early cases with their sensational news coverage, in-depth narratives of criminal trials and the celebration of detectives.”

Read brings all of the gory details to life in 19 notable cases that span the course of a century, drawing from official case files, newspaper reportage, trial transcripts and detectives’ notes. His crisp, evocative prose gets right to the heart of the matter, which is usually bloody: foggy nights, a cavalcade of shady characters and a surprising number of dismembered bodies, many discovered in trunks. With chapter titles like “A Death in Duddlewick” and “A Murder in the Manor,” readers will be forgiven for feeling entertained by these grisly tales: Some cases read like Charles Dickens’ novels brought to life, and, in fact, Dickens modeled Bleak House’s Mademoiselle Hortense after Maria Manning, whose execution he witnessed in 1849.

Readers will delight in learning about the evolution of detective work and forensics. During the Jack the Ripper investigation, for instance, “sniffer dogs” were briefly deployed for the first time. “The Crumbles” chapter describes a house of horrors in which crime scene investigators began using rubber gloves (thank goodness!). Ballistics started playing a role in the 1927 murder of police constable George Gutteridge, with the press declaring that the murderers were “hanged by a microscope.”

Read’s previous titles include Human Game: The True Story of the ‘Great Escape’ Murders and the Hunt for the Gestapo Gunmen, and he has cemented his reputation for escorting readers through real-life, spine-tingling adventures with this volume. Modern crime fanatics will find themselves captivated by the enduring relevance and mystique of these Victorian-era crimes.

Simon Read brings the gory details of Victorian-era crimes to life in his thrilling history of Scotland Yard.
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One Small Spark: A Tikkun Olam Story presents a big idea to young readers in an accessible, manageable way. Starting with a dreary spread of a cityscape, overshadowed by dark clouds and scribbles, the text asks readers to “Imagine the world you want to live in. If that’s not the world you see, will you create it?

A girl departs a city bus with an older woman, both of their bodies bright splashes of color in a sea of bleak tones. At a park, another girl, also bathed in color, stares forlornly at a broken swing. After the first girl, our young protagonist, helps fix the swing, she notices piles of trash and other broken things nearby, including a little free library and a seesaw. As Victoria Tentler-Krylov’s illustrations show the girl eagerly gathering others—including kids and adults—to come together and restore the park, Ruth Spiro’s sparse text offers encouragement, such as, “In a moment you decide who you are and who you want to be.”  

An author’s note explains that the story is an example of the Jewish concept of tikkun olam, which can be translated as “repair the world,” “improve” or “make right.” Presented in this manner, it’s an idea that will readily appeal to young readers and is likely to set their own creative wheels spinning about problems they might tackle. 

Spiro’s narration is just right—gently didactic and inspiring without being heavy-handed—and Tentler-Krylov’s illustrations feel magical as they show color gradually spreading through this girl’s world as the result of her actions. By the end of the book, there’s a Marc Chagall-like quality to Tentler-Krylov’s art, in which figures swirl in movement and action, suggesting all of the possibilities that determined people can achieve. The final spreads of One Small Spark are a riot of color, full of constructive energy—a stark contrast from the dour cityscape at the start of the book.

One Small Spark is an ode to positive transformation, an affirming book that’s just right for its young audience.

One Small Spark is an ode to positive transformation, an affirming book that’s just right for its young audience.
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Who doesn’t love a friendly little ghost? Readers will fall in love with the delightful hero of Wolfgang in the Meadow, who yearns to be a master of causing fright, but whose happy place is basking in the wonders of a nearby meadow. When he’s not casting spells and “twirling in the air,” Wolfgang loves to hug trees, pick wildflowers and gaze at the sky. His goal is to follow his hero, The Mighty Hubert, as guardian of the Dark Castle. After 999.5 years of his reign, Hubert is about to pick his successor.

As Wolfgang studies the dark arts, he no longer has time to enjoy the splendors of the sunny meadow. Once he achieves his goal and holes up in the castle, he starts to flounder because something is missing. How can Wolfgang continue following this dream while not losing his essence as a nature-loving ghoul?

Author-illustrator Lenny Wen achieves eye-catching contrasts between the gentle meadow and fearsome manor with a combination of graphite and acrylic gouache. Children will delight in the spooky, darkly-tinted Dark Castle, which brims with lightning bolts, skulls and secret potions. The tone is perfect for young audiences, with well-balanced—“frightful,” but ultimately nonthreatening—scenes featuring pint-sized spirits. Nightmares are highly unlikely to ensue from all of this spooky cuteness. These eerie scenes stand out vividly against the bright colors of Wolfgang’s meadow, and together they provide a visual feast that helps readers understand the pleasures of both of Wolfgang’s passions, and how one feeds the other. Wolfgang himself—whose huggable shape resembles a puffy marshmallow—pops out amidst the lush green landscape, filled with wildflowers and woodland creatures.

With Wolfgang in the Meadow, Wen has created a fine story arc about making one’s own way in the world, defying stereotypes and the pleasures of leading a well-rounded life. It’s full of heart and humor, and Wolfgang’s dilemma will speak to readers of any age trying to navigate clashes between joy and ambition.

Wolfgang in the Meadow is full of heart and humor, and Wolfgang’s dilemma will speak to readers of any age trying to navigate clashes between joy and ambition.

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