Art historian Dempsey (Styles, Schools & Movements) explores in this thought-provoking survey how women have been portrayed in art over the past 500 years. In 80 short essays—one for each work—she explores how renderings of the female body have shaped and been shaped by societal values. Titian and Alexandre Cabanel’s paintings of Venus, for example, depict an idealized nude figure whose “mythical assignment” allowed her to be viewed without scandal, while Édouard Manet’s Olympia shocked audiences with its subject’s “confrontational gaze” and helped to “modernize the tradition of the female nude.” Dempsey also considers how these works responded to their political contexts. For example, Lee Miller’s 1944 photograph FFIWorker, Paris, France, depicts a Resistance fighter whose striking hairstyle and bright lipstick served as an implicit rebuke of Nazi ideals of femininity. British sculptor John Bell’s 1853 work A Daughter of Eve—A Scene on the Shore of the Atlantic, which portrays a shackled African woman, communicated a pointed anti-slavery message during the American Civil War. Also discussed are Australian sculptor Julie Rrap’s SOMOS (Standing on My Own Shoulders), which features two life-size casts of the 73-year-old artist’s body, and Mexican photographer Graciela Iturbide’s Nuestra senora de las iguanas (Our Lady of the Iguanas), which documents the everyday lives of the Zapotec people. Comprehensive and lucidly written, this is a worthy addition to any art lover’s library. (Feb.)

Reviewed on 02/20/2026 | Details & Permalink

Novelist Haddon (The Porpoise) pieces together family photographs, illustrations, and vivid biographical snippets for this panoramic memoir. Moving nonsequentially, Haddon mines his memories of growing up in Northampton with self-involved parents (“You have to remember... that he only wanted one child,” his mother told his sister when she complained their father didn’t love her), a stint as a young adult caretaking for a rigidly religious disabled man, and his time as a children’s book author and illustrator. He also discusses his turn to writing for adults, though he admits it’s hard to separate recollections of writing The Curious Incident of the Dog in the Night-Time from “memories of the answers I’ve given” in interviews. The focus, though, is squarely on his relationships and his intellectual fascinations, including the fickle nature of memory and the mind, caring for his obstinate parents in their decline, and theories about writing as a kind of mysterious descent into the subconscious. Interspersed throughout are Haddon’s drawings, including a painting of his mother sitting at his father’s bedside, along with photos and ephemera like his paternal grandfather’s cigarette cards. Haddon writes of his “inability to weave the patchily remembered events of [his] own life into a coherent narrative,” but the result is utterly transfixing in its meandering approach. It’s a strange, beautiful work that exposes the inner workings of a creative mind. (Feb.)

Reviewed on 02/20/2026 | Details & Permalink

At birth, the women of the Novak family are given a silver ticket that allows them one chance to turn back time, in this disappointing tale from Serle (In Five Years). When Lauren’s mother was 15, she used hers to save Lauren’s father from a deadly car crash, and her mother has worried about his ailing heart ever since, knowing she’s used up her only chance to save him. Lauren, who grew up surfing with her father near their modest Malibu house, is 37 and dealing with expensive and grueling fertility treatments. While Leo, her husband of three years, spends a summer in New York City to advance his film career, Lauren visits her childhood home with her parents and grandmother. There, she takes up surfing again and rekindles a romance with an old flame, Stone. Feeling disconnected from herself and pushing Leo further away, she wonders if perhaps there is a past choice she can undo. The author introduces heavy themes of family bonds and fertility struggles, but the story is undone by clunky characterizations—especially that of Stone, who’s described as “humble” and vain in the span of a paragraph—and by an ending that feels unfaithful to the plot. Serle’s clever concept doesn’t quite translate into magic on the page. Agent: Erin Malone, WME. (Mar.)

Reviewed on 02/20/2026 | Details & Permalink

In this devastating account, journalist Baroud (These Chains Will Be Broken) traces multiple generations of his Palestinian family tree as each confronts the Israeli occupation. He begins with family matriarch Madallah Abdulnabi’s childhood in idyllic Beit Daras, from which she was forcibly expelled during the 1948 Nakba. Baroud depicts the expulsion with haunting imagery—“hundreds of women and children rushed to the southern road where sunflowers were in full bloom”—and harrowing flashes of carnage (“two little sisters shot holding hands”). These vivid descriptions clarify how the Nakba’s trauma continues to resonate through subsequent generations, particularly as Baroud turns toward the Gaza branch of his family. He catalogs their experiences of “imprisonment, torture, and loss,” including those of Madallah’s son, Ehab al-Badrasawi. In 1987, to the dismay of other family members, Ehab, then a “scrawny” 11-year-old, participated in the first intifada, which erupted after “an Israeli had deliberately run over Palestinian[s]... waiting by a bus stop.” Later, Ehab joined Hamas after Israeli forces killed his younger brother Wael. The book hurtles toward October 7 with mounting horror as both Ehab’s son and nephew join the fight, and it comes to seem as if Wael’s death had “sealed the fate... of the al-Badrasawi family.” It’s an indelible depiction of the generational trauma that defines the Palestinian struggle. (Feb.)

Reviewed on 02/20/2026 | Details & Permalink

Mount Shasta, Calif., high school senior Izumi Tanaka is a normal 18-year-old American girl: she enjoys baking, watching Real Housewives, and dressing like “Lululemon’s sloppy sister.” But Japanese American Izzy, conceived during a one-night stand in her mother Hanako’s final year at Harvard, has never known the identity of her father. So when she and her best friend find a letter in Hanako’s bedroom, the duo jump at the chance to ferret out Izzy’s dad’s true identity—only to find out he’s the Crown Prince of Japan. Desperate to know her father, Izzy agrees to spend the summer in his home country. But press surveillance, pressure to quickly learn the language and etiquette, and an unexpected romance make her time in Tokyo more fraught than she imagined. Add in a medley of cousins and an upcoming wedding, and Izzy is in for an unforgettable summer. Abrupt switches from Izzy’s perspective to lyrical descriptions of Japan may disrupt readers’ enjoyment, but a snarky voice plus interspersed text conversations and tabloid coverage keep the pages turning in Jean’s (Empress of All Seasons) fun, frothy, and often heartfelt duology starter. Ages 12–up. Agent: Erin Harris, Folio Literary Management. (May)

Reviewed on 05/07/2021 | Details & Permalink

Kelkar’s (Bindu’s Bindis) novel features Oceanview Academy middle schooler Sonali, whose stoicism contrasts with her love of Bollywood movies’ melodrama. Stuck in a Los Angeles home with constantly arguing parents and her sensitive nine-year-old brother Ronak, Gujarati American Sonali, 11, tries to make sense of her world through the Hindi movies she’s seen all her life. Ever since an earnest public attempt five years ago to stop her parents’ fighting led to widespread embarrassment in front of family, Sonali has resolved to hide her emotions and do her best to ignore her parents’ arguments. But her efforts prove futile when her parents decide to try the “nesting” method of separation, where they take turns living in the house with Sonali and Ronak. The contemporary narrative takes an entertaining fabulist turn as Sonali’s life begins to transform into a Bollywood movie, with everything she feels and thinks made apparent through her “Bollywooditis.” Sonali’s first-person perspective is sympathetic as she navigates friendship and family drama, and Kelkar successfully infuses a resonant narrative with “filmi magic,” offering a tale with universal appeal through an engaging cultural lens. Ages 8–12. Agent: Kathleen Rushall, Andrea Brown Literary. (May)

Reviewed on 05/07/2021 | Details & Permalink

When she was six, Justice Kasric watched her blue-eyed merchant father play chess with the Faerie King. Now 15, Justice believes the event was merely a dream. She spends her days yearning for adventure, watching from the sidelines while her 16-year-old sister Faith, as slender and golden-haired as Justice but not as curious, becomes the toast of Victorian London society. One night, however, their father shatters their comfortable lifestyles when he forces the family—Justice, Faith, their younger brother Henry, and their constantly medicated, distant mother—into a locked carriage that takes them to a shadowy mansion. Justice’s discovery that the Faerie have invaded the human world and are targeting her family gains further urgency when she learns that her parents are on opposite sides of the conflict. Together, the Kasric siblings—including older brothers Benedict and Joshua—must find a way to save their family. While characters lack depth at times, and insufficient historical details don’t fully evoke the Victorian setting, Klaver’s (the Supernatural Case Files of Sherlock Holmes series) rich, lyrical descriptions augment the fantastical source material in this engaging series starter. Ages 13–up. Agent: Lucienne Diver, the Knight Agency. (May)

Reviewed on 05/07/2021 | Details & Permalink

Nine years before this novel begins, eight-year-old best friends Esme Randal and Kayla Price snuck out of their cabin at Camp Pine Lake in Texas. They swore never to discuss the terrible events that followed, but when the girls, now 17, return to the camp as counselors-in-training from their hometown of Lewisburg, Pa., that proves easier said than done. Someone begins sabotaging camp activities, and ominous—and increasingly public—threats appear, referencing that fateful summer. The only other person who knows Esme and Kayla’s secret is a local girl named Lillian Campbell, whom they left to fend for herself that night in the woods. They’re loath to voice their suspicions of revenge lest they get in trouble or look bad in front of hunky fellow counselors Jake and Olly, but as events escalate, they realize they may not have a choice. Narrating from Esme’s increasingly apprehensive first-person perspective, Preston (The Twin) pays homage to classic summer camp slasher films. The underdeveloped, predominantly white cast relies heavily on stereotype, and the clichéd tormenter’s motive feels unearned, but horror fans will likely appreciate this paranoia-fueled tale’s gruesome, shocking close. Ages 12–up. Agent: Jon Elek, United Agents. (Mar.)

Reviewed on 05/07/2021 | Details & Permalink

Inspired by her own family’s refugee journey from Vietnam to Hong Kong, Văn’s (If You Were Night) spare picture book, powerful in its deliberate simplicity, follows a black-haired, pale-skinned child as they, their guardian, and two younger siblings join other asylum seekers for a perilous maritime voyage. In a third-person voice, Văn anthropomorphizes objects, relaying their wishes: “The dream wished it was longer,” one spread reads, as a balding, mustached guardian holds the protagonist close, and a guardian with a bun rouses the second child to dress them. “The clock wished it was slower,” the subsequent pages read, as the two children tearfully hug their mustached guardian goodbye. The narrative continues as the now family of four make their way onto the boat and beyond. A final-act switch to first-person perspective drives home the journey’s personal nature. Intricate, lissome fine-lined art by Ngai (Dazzle Ships) recalls classical Asian compositions, Japanese woodblock prints, and an evocative sensibility in a gradated, surrealistic color palette. A seamless interweaving of elegant prose and atmospheric art marks this affecting immigrant narrative. Back matter includes heartfelt author’s and illustrator’s notes. Ages 4–8. (May)

Correction: A previous version of this review misquoted the book's text.

Reviewed on 05/07/2021 | Details & Permalink

In a straightforward picture book debut by Meloy (the Apothecary series), a red-orange octopus is “happy in his cave,” until a human, portrayed as a pale hand, tricks the cephalopod into occupying a glove and subsequently takes him to “a glass house that wasn’t a cave.” Though the octopus is offered interactive tests and activities—including building blocks, a jar to unscrew, tight passages to navigate, and a camera to photograph visitors to his aquarium home—his days lack differentiation, and the pining octopus soon devises an intrepid plan to return home. The sympathetic prose is rhythmic, allowing readers to see the octopus’s perspective at every step of the process: of the glass house, “There were no waves. No little shivery ones. No big tumbling ones.” Sala (Green on Green) contributes vibrant art rendered in gouache, watercolor, and pastel on paper; particularly effective are spreads of the sinuous subject’s ocean life, with its richly varied flora and fauna. The Finding Nemo–esque adventure follows a predictable arc, but the tender narrative is gratifying and may serve as an effective jumping-off point for discussions about animal captivity. Ages 3–7. (May)

Reviewed on 05/07/2021 | Details & Permalink