(2) YA Winnie Nash has been out as gay since age four when she kissed another girl at preschool. It's never been an issue. At twelve, she's much more worried about her mom, who is pregnant again after several miscarriages. Winnie's parents are sending her to stay with a grandmother she barely knows for the whole summer, and they warn her not to share their family's private business, including her mom's severe clinical depression and the fact that Winnie is gay. They tell her just to have an enjoyable summer at the Jersey Shore -- but how can she do that when anytime she smiles, she feels like she's stealing a smile from her mom? All she wants is to escape to New York City to attend the Pride parade, where she won't have to hide. In the moody and contrarian Winnie, Melleby has crafted a believable, compelling portrait of a middle schooler struggling to process big, difficult emotions. Though Winnie's family situation makes this novel at times a somber read, joy shines through in unexpected places, as when Winnie delights in playing canasta at the senior center, or in the vivid descriptions of beaches. Winnie's relationship with her grandma is a highlight -- complicated, sometimes tumultuous, but deeply rewarding once she discovers that we really do need to talk about the hard things.

Reviewer: Bodie Shanis | Horn Book Magazine Issue: May, 2024

(3) K-3 Illustrated by Sara Palacios. Julieta struggles to add an item honoring Abuelita to her family’s Día de Muertos ofrenda. Nothing seems right, until she thinks outside the box and reflects on what made Abuelita—and herself—happiest. The text offers a realistic-seeming and gentle experience of a child’s grief, buoyed by the rest of the holiday celebrations. Jewel-toned digital illustrations are sprinkled with marigolds, and ochre-tinged pages indicate memories. An author’s note, glossary, and breakdown of common ofrenda elements are appended.

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(3) K-3 Illustrated by Alona Millgram. “Fingers crossed it turns out right. / Challah for Shabbat tonight.” Singsong rhymes take readers and listeners step by step as the narrator bakes challah with Grandma, including the fun of waiting together and, later, of Shabbat dinner with family. Illustrations are appealingly varied, from insets showing details of baking to flighty spreads with ingredients and smells dancing across the page. A welcome, warm portrayal of the Jewish Sabbath and of an intergenerational relationship.

Reviewer: Shoshana Flax

(3) K-3 Illustrated by Natalia Rojas Castro. Since arriving from Havana, Magaly’s talented abuela has “whipped up one Cuban dish after another.” It’s all new and tasty—but when Magaly hears about ropa vieja, literally “old clothes,” she starts to grow concerned...and to hide her favorite garments. Lively, warm-toned digital illustrations display abuela’s “zesty” dishes and Magaly’s funny misunderstanding. Useful and entertaining back matter includes author and illustrator notes, two recipes, brief “Facts About Cuba,” examples of “recipes with imaginative names” from various cultures, and a glossary.

Reviewer: Elissa Gershowitz

(2) PS In this companion to Caldecott Honor Book Nana in the City (rev. 11/14), Nana comes out to the country to visit with her grandchild. The young narrator is excited to introduce Nana to the special things about rural living but is disappointed to find that "Nana doesn't seem surprised. Not even a bit! I can't show Nana how to do anything in the country." Castillo's detailed ink, watercolor, and pastel illustrations are as at home in portraying this small-farm setting as they were in conveying the hustle and bustle of Nana's beloved city. The art in both books honors the special relationship between grandparent and grandchild. A middle-of-the-night thunderstorm and a sheep on the loose rattle Nana -- and provide her farm-ambassador charge with an opportunity to show off some animal-husbandry know-how. This is a satisfying return visit with two engaging characters.

Reviewer: Kitty Flynn | Horn Book Magazine Issue: January, 2024

(3) K-3 An Indigenous girl is distraught when the dress she’s making for a special ceremony rips. Bizzy’s grandmother shows her the regalia the girl’s great-grandmother wore, pointing out a problem with the beading: “...it’s the Pomo way to leave one little flaw in everything you make.” She advises the girl to “dance fast” to keep others from noticing the mistake. Gibbons’s message about avoiding perfectionism is not heavy-handed, and her digital illustrations are humorous. A note about the Pomo people is appended.

Reviewer: Shoshana Flax

(2) 4-6 Returning to her literary roots in Florida (see: Because of Winn-Dixie, rev. 7/00; Raymie Nightingale, rev. 3/16), DiCamillo again explores bonds of family, friends, and community. Ferris Winkey finds the summer before fifth grade a puzzling one. Much turbulence surrounds her immediate family, her best friend, and some townspeople: her beloved grandmother, Clarisse, sees a ghost; her uncle leaves his wife and takes up residence in the Winkey basement; her younger sister aspires to be a famous outlaw; and her piano prodigy best friend plays "Mysterious Barricades" exclusively and repeatedly. Thanks to her fourth-grade teacher, who now cries constantly, Ferris has the words for these characters: formidable, unfathomable, unrepentant, quixotic, and bereft. Foreboding is another word Ferris contemplates as Clarisse's health gradually fails. But having the words to describe people and understanding them is not the same. In a glorious climax in which all the book's characters gather to appease the ghost, Ferris discovers that obstacles between individuals can disappear if they have the courage to believe in, rather than simply define, a word she knew all along: love. The limited third-person narration glimpses other lives but never dwells on them, thus leaving Ferris's honest, pre-adolescent perspective to drive the story line. As Clarisse tells Ferris, "Every good story is a love story." Here, DiCamillo adeptly proves this axiom.

Reviewer: Betty Carter | Horn Book Magazine Issue: January, 2024

(2) K-3 Illustrated by Gardiner Kate. When Francis's family plants Gaawaandagoonce ("little spruce" in Ojibwemowin) in her grandmother's garden located alongside Gichigamiing (Lake Superior), the tree and baby Francis are almost the same height. The two grow together: "While Francis learned to walk on two little feet, the spruce tree walked in her own way -- stretching her roots out into the ground, where they talked to roots of other trees." Grandma knows that "trees, like people, are stronger together," which is why Gaawaandagoonce was planted near older spruces. Drouillard's inviting text naturally weaves information about trees' root systems and species' interconnectedness into a story about adjusting to change. When Francis's grandparents eventually need to move from their Grand Portage home, the family brings the little spruce to Francis's aunt's house. They carefully and lovingly transplant the tree, but acclimating is tough. Slowly, she connects with the other spruces and begins to feel at home again. Children who have had to move to a new place will relate to Francis and Little Spruce. The gouache and colored-pencil drawings' limited palette is a good match for the text's contemplative tone. An author's note explains that the story is based on a real spruce tree, and Drouillard discusses the importance of land and the significance of its loss for the Ojibwe people. Two Anishinaabe uses for white spruce and a glossary of the Ojibwemowin words included in the story are also appended.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: July, 2024

(2) 4-6 Seventh grader Mahnoor Raheem is less than thrilled when her Pakistani grandmother, Dadi, comes to live with them in Texas. Not only does Maha have to give up her bedroom, but her father also expects her to "babysit" his mother while he and Maha's mom work long hours at the hospital. Although her home life is disrupted, Maha is excited about her media studies elective; she sees the class as a steppingstone to pursuing her dream of becoming a journalist. A class project -- making "a documentary on a topic that's newsworthy" -- gives Maha the opportunity to learn more about Dadi's life and an appreciation for what history can teach us about the present. By spending time with her grandmother prepping meals, participating in her first Ramadan fast, and playing board games, she learns a great deal about the 1947 Partition of British India into India and Pakistan. Faruqi introduces readers to the Partition, the largest mass migration in history, through relatable characters experiencing recognizable middle-school dynamics. The conversational style of the historical retelling offsets some of the heavier issues of rampant violence, refugee resettlement, and trauma. Readers are rewarded with a deeply immersive and moving story as Maha experiences a shift in understanding of her hyphenated identities and connects her family's history to other immigrant experiences.

Reviewer: Sadaf Siddique | Horn Book Magazine Issue: March, 2024

(2) 4-6 Sixth grader Joseph Oaks claims he isn't a superhero (even if he did fly like Superman once): "I don't have any special powers -- unless / you count my ability to be invisible, / and to survive." Joe's mother gets what he calls "The Itch" and disappears for "days. / Weeks. / Months. / You never know when she'll take off / or when she'll come back." Thus, Joe "know[s] a lot of things / kids shouldn't / have / to know," including housing insecurity (Joe and Grandmum live in her car), poverty, and hunger. Things start to look up when they find "The Overripe Banana," a mobile home in King of the Castle Mobile Home Park. Once settled in, Joe considers his favorite possession, the quilt Grandmum made years ago: he understands that "Grandmum's the thread / holding her, Mom, and me, / separate pieces so different from each other, / together / as a family." Supporting characters, including Joe's teacher, his friends Nick and Hakeem, and the mobile home park's compassionate owner, are well drawn and vividly portrayed. As in Starfish (rev. 5/21), Fipps uses short lines, lots of white space, and an engaging first-person voice to carry the story. A fine example of how a novel in verse can be the perfect vehicle for getting inside the head of a character and creating empathy for what it's like to be him.

Reviewer: Dean Schneider | Horn Book Magazine Issue: May, 2024

(2) K-3 Illustrated by Susie Ghahremani. Memory and connections with the "old country" can be important parts of the experience for immigrant families. In this story, a young girl helps her Iranian (as identified in the back matter) grandmother, Nana, tend her garden, while relishing "the stories she tells me about a garden she knows far away." As the two plant and water geraniums, Nana shares tales of "back home," even though the girl doesn't "know where 'back home' is." There were tall cypress trees, fragrant jasmine, lilac, and hyacinth; there was a fishpond, and fruit trees including cherry, mulberry, and pomegranate. Gouache illustrations on vellum represent a modest Western garden in contrast with the lusher, bursting garden of Nana's memories on the facing page. Paisley, floral, and other distinctly traditional Persian designs adorn the pages in saffron yellows, minty greens, and radish-y reds. These embellishments make a visual connection between Nana's new home and her "back home" memories; the book's playful endpapers also capture this design aesthetic. In this gentle tale, stories are like plants that grow in the girl's imagination, taking root to bloom into cultural pride and intergenerational connection. Author and illustrator notes discuss the importance of gardens for many Iranians as well as the importance of cultural transmission.

Reviewer: Julie Hakim Azzam | Horn Book Magazine Issue: March, 2024

(2) YA Alternating narrators Rosie, Caro, and Zeke find themselves transplanted to Jersey City, New Jersey, where each struggles to relate to the people around them. Sisters Rosie and Caro arrived with their mom from the Dominican Republic years earlier, escaping an abusive and absent father who has gone on to start a new family. After losing his mom, Zeke (who is of Jamaican and Panamanian descent) has moved to the area from Miami for a fresh start. Each teen battles their own anxieties through a series of misadventures that uncover hidden truths about themselves and their family histories. They are helped along the way by Rosie and Caro's aunt, whose spiritual practices explain the power of several magical objects that enter their lives: a pink jacket, two rings, and a baseball bat. Gomera-Tavarez offers a fast-paced plot with relatable characters who represent distinctive Afro-Latine experiences. Zeke also navigates his emerging queer identity, and the young women deal with gender-based pressures about appearance and sexuality, demonstrated through a strained relationship with their mother. While the story touches upon various types of trauma and abuse, it does so in a way that can help readers identify tactics for recognizing and processing pain and suffering, especially with the help of loved ones.

Reviewer: Nicholas A. Brown | Horn Book Magazine Issue: May, 2024

(3) 4-6 Illustrated by Kristina Kister. Mandala artwork by Ben Guterson. With his parents away on a research trip, Zander Olinga is spending five weeks with his grandmother at the Number Nine Plaza, the wondrous department store she owns in the Eastern European-esque city of Novatrosk. The building possesses wish-fulfillment departments to tempt any young shopper—nineteen floors of pet stores, magic shops, bakeries, reading rooms, art museums, and ice cream parlors, with a giant Ferris wheel on the roof. Zander would enjoy it all immensely but for the looming threat of Darkbloom, an evil spirit who invades the minds of the weak, once conjured by his great-great-great uncle Vladimir. A magical plate bearing a sandstone mandala that gave the Nine its exceptional ability to enchant has been missing for ninety-nine years, and Zander hopes to recover it before Darkbloom’s minions can use it to destroy the Nine. If the plot is a little MacGuffinish, the setting and mystery are constructed with great skill, with Zander and his friend Natasha dodging acts of sabotage that have plagued the department store and seeking out a series of nonsensical inscriptions that Uncle Vladimir left behind. Readers will enjoy trying to puzzle out the cypher coded in the inscriptions and will cheer Zander’s attempts to conquer his acrophobia, a bit of personal development that comes into play at the climax. Despite the ongoing threats and danger, the story has built-in guardrails that keep the action from getting too intense, giving younger readers the security to wallow in the sparkling fantasy Guterson invents, of a store more magical than Santa’s workshop, without fear. Final interior art not seen.

Reviewer: Anita L. Burkam

(2) 4-6 Twelve-year-old Darika Lovelace is spending the summer in Trinidad with her grandmother; she feels like her dad and stepmother don't want her around because she has been getting in trouble. She also misses her mom, who left two years earlier. When she arrives in Trinidad, she notices a strange woman looking at her; she asks about it, but Granny brushes her off. Later, Granny asks her to clear out her mother's childhood room and finish the mural her mom started. While painting the mural, Darika begins to have strange visions of her mom trapped in a tree she painted. Darika learns from some neighborhood kids that she is a witch and must save her mother. Howard mixes Trinidadian folklore with present-day issues to create a fast-paced adventure. Her descriptions of the island are vivid and create a strong sense of place; references to popular video games add appeal. Fans of Baptiste's Jumbies series will enjoy this accessible page-turner.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: January, 2024

(3) K-3 Illustrated by Violet Kim. A man directs a racist comment at a Japanese American girl while she’s with her oba, leaving her in tears. Over soothing tea at her shop, Oba’s friend tells the girl about her experience in an internment camp during WWII. Oba explains that sometimes people’s fear of difference “plants roots and grows into anger,” which can lead to discrimination. This inspires the girl to plant love in her community. Ward handles racism with sensitivity, and Kim’s use of mostly bright colors helps to temper the book’s sadder moments. An author’s note and a glossary are appended.

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(2) 4-6 In this novel set in O'ahu, Hawai'i, Clara is having a rough start to sixth grade and wishes she could move to Arizona to live with her dad. Her best friend, Leo, has not spoken to her since the beginning of the school year, and Clara, confused and hurt, wishes she knew why. One night, she asks the 'umeke, a wooden bowl that her family has passed down for generations, "What are boys thinking?" The next day, Clara can hear the thoughts of all the boys around her. Clara tries to use her new abilities in helpful ways but ends up causing more trouble. When her Tutu (grandmother in 'olelo Hawai'i, or the Hawaiian language) has a serious asthma attack, Dad wants to move both Clara and Tutu to Arizona, and Clara finds herself using her Clairboyance (Tutu's name for the ability) to convince her dad to move back to Hawai'i instead. Kahakauwila's middle-grade debut introduces readers to the history, culture, and language of Hawai'i. Characters smoothly switch among English, Creole English, and 'olelo Hawai'i, and Tutu teaches Clara how to care for the land (flora and fauna are vividly described) and the ancestors. Readers are reminded of the importance of family, history, and culture in the context of an entertaining tween narrative. A welcome addition to Asian American, Native Hawaiian, and Pacific Islander literature for young people-.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: July, 2024

(2) YA Thirteen-year-old Liv lives with her parents in England. When she's tasked with a family history assignment for school, she decides to investigate her ninety-two-year-old grandmother. While helping Bubbe move into an assisted living facility, Liv discovers a secret chest from her grandmother's past and learns more than she bargained for. A second story unfolds in alternating chapters: twelve-year-old Mila and her older sister, Hannie, live in Holland in 1942, but since they are Jewish and the Nazis have taken over the country, they do not live with their parents. Rather, they have assumed different identities, hiding in plain sight with a non-Jewish foster family in Amsterdam. Hannie gets drawn into the Dutch resistance with grave consequences; she is the titular Kingfisher. It's quickly revealed that Mila is, in fact, Liv's grandmother, but Kessler makes readers wait to learn the entire story, using lots of dialogue, a notably fast pace, four viewpoint characters, and several dozen short chapters to further develop suspense. An engrossing read, one that provides depth to the Dutch experience during the Holocaust beyond Anne Frank and her famous diary.

Reviewer: Jonathan Hunt | Horn Book Magazine Issue: May, 2024

(2) 4-6 Blue Stars series. Illustrated by Molly Murakami. In their first graphic novel collaboration, Magoon and Smith introduce readers to cousins Riley Halfmoon and Maya Dawn. Riley is used to being surrounded by her Muscogee cousins and aunties. Maya is an only child and lives in Japan with her parents, who are on active duty. The girls both move to Urbanopolis to live with their paternal grandmother when Riley's mom gets a new job and Maya's parents get a new assignment. At first they find sharing a room to be a difficult adjustment; when school starts, the two continue on their separate paths until they realize the vice principal plans to cut afterschool programs for more detention space. The girls work together to expose his plans and to "be the stars" their grandmother wants them to be. The story and illustrations are a wonderful representation of a multiracial (the cousins' paternal grandmother is Black; Riley's mom is Muscogee, and Maya's mother is white) and multigenerational family. The graphic novel format, with varied panel layouts in the digital illustrations, helps create a fast-paced adventure middle-grade and middle-school readers will appreciate.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: March, 2024

(2) YA In this novel set vaguely during the mid-twentieth century, new-money sisters Renata, almost twenty, and Isla, seventeen, have a reputation for making waves. To solidify a future for them, Abuela pulls strings to get them into the Alarie House, a mysterious finishing school that churns out untouchably sophisticated young ladies. Isla is certain her grandmother and sister also hope that the school will validate Isla's femininity: she is intersex (though the term is not used in the world of the book). Isla barely lasts a night in the strange house and returns home, but when Renata later comes back uncannily changed after graduation and flees into the night, Isla quickly returns to Alarie House, determined to find out what happened to her sister. What she discovers is more terrifying -- and nuanced -- than she could have imagined. In between somnambulant nightmares and surprising kisses with an aspiring lapidarist (a gem-cutter), Isla reflects on feminine ideals and her own identity. McLemore's heavy use of metaphor -- is everything jewel-like, or is everything a jewel? It's hard to tell -- creates an unusual tale that drips with twisted glamour. An author's note explains how McLemore relates to Isla's character through their own experience of gender identity and Latinidad and argues for larger discussions surrounding differences of sex development. Unsettling and packed with sparkly detail, this book is perfect for gothic-literature and period-piece fans who are eager for a much-needed update in representation.

Reviewer: | Horn Book Magazine Issue: July, 2024

(3) K-3 Illustrated by Teresa Martinez. Luis’s family’s tamalada (a “tamale-making party”) ends in an epic battle for the last tamale. The grandkids compete in a dance competition, lucha libre, and, finally, an arm-wrestling match with Abuelita, the head chef and holder of the family recipe. Bright, cartoony illustrations full of colorful, superhero-comic-esque flair bring this silly fight to life. An author’s note is appended.

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